Kansvaho

Author(s): Rama Paniwada, A N Upadhye
Publisher: Motilal Banarasidas
Catalog link: https://jainqq.org/explore/001886/1

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A.N. UPADHYE RAMA PANIVADA'S KAMSAVAHO ( A Prakrit Poen in Classical Style ) GRONORCA

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RAMA PANIVADA'S K A M S A VA HO (A Prakrit Poem in Classical Style.) Text and Chaya critically edited for the first time with various Readings, Introduction, Translation, Notes, etc. BY Dr. A. N. UPADHYE, M.A., D.Litt. SPRINGER RESEARCH SCHOLAR, UNIVERSITY OF BOMBAY, PROFESSOR OF ARDHAMAGADHI, RAJARAM COLLEGE, KOLHAPUR MOTILAL BANARSIDASS DELHI :: VARANASI :: PATNA

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MOTILAL BANARSIDASS BUNGALOW ROAD, JAWAHAR NAGAR, DELHI-6 NEPALI KHAPRA, VARANASI-I BANKIPUR, PATNA-4 First issue 1940 Second issue 1968 Price Rs.4.50 PRINTED IN INDIA BY SHANTILAL JAIN, SHRI JAINENDRA PRESS BUNGALOW ROAD, DELHI-6 AND PUBLISHED BY SUNDARLAL JAIN, MOTILAL BANARSIDANG, BUNGALOW ROAD, JAWAHARNAGAR, DELHI-6

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CONTENTS PAGE PREFACE INTRODUCTION 1. Critical Apparatus 2. Presentation of the Text and Chaya .. .. xi 3. Rama Panivada and his Works 4. Kamsavaho: A Critical Study .. xxiv-xlix i) Earlier Acquaintance with the Work .. xxiv ii) The Theme and the Title . XXV iii) Summary of the Contents .. .. xxvi iv) The Form, the Source and the Model.. xxxi v) On the Prakrit Dialect of Karsavaho .. a) Special Traits of the Author's Dialect.. xxxiv b) The Name of this Prakrit Dialect .. xxxix vi) Metres in Karsavaho i. xlvi vii) Style of Karsavaho .. .. .. .. .. xlvii The Chaya and its Authorship xlix 5. KANSAVAHO : TEXT WITH FOOT-NOTES .. 9-499 SANSKRIT CHAYA with FOOT-NOTES 43-80

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KAMSAVAHO INDEX OF VERSES .. .. .. .. 39-8EUR 86-979 GLOSSARY OF WORDS .. TRANSLATION 133-63 NOTES .. .. .. .. .. .. 165-211 INDEX OF PROPER NAMES .. 212

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PREFACE Kamsavaho of Rama Panivada, though listed by OPPERT and mentioned by AUFRECHT at the close of the last century, did not attract the attention of Prakrit scholars till a Ms. of it from the Madras Oriental Library was lately described in the Triennial Catalogue of Mss., Volume VI-Part I. Sanskrit, Madras 1935. Rama Panivada is a genuine poet with a confident grip over his expression; he has inherited the spirit of classical Sanskrit authors whose models he closely follows; though he belongs to the closing period of Prakrit literature, his work can be creditably ranked with the mediaeval Prakrit poems; and his language is a fine specimen of literary Prakrit handled after closely studying the Sutras of Prakrit grammars. The detailed results of my study of the two Mss. that were accessible to me I have presented here. The constitution of the text was attended with many difficulties, but I have faithfully handled the material and never trespassed its limits. This limited material almost forced me to offer some emendations which are marked with asterisks in the text; and my suggestions on the Chaya are put in the foot-notes within square brackets. The inclusion of the Chaya and the addition of the English Translation and the critical and explanatory Notes, I hope, would go a long way to facilitate the understanding of the text. The Introduction is occupied with a critical study of the various aspects of Kamsavaho after describing the Ms. material and the method of text-constitution. The details about Rama Panivada are critically set forth; and the source

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KANSAVAHO and model, the Prakrit dialect and the style of Kamsavaho are thoroughly scrutinised. With all modesty the Introduction aims at enlightening the readers on the position of Karsavaho in the realm of Prakrit literature in particular and Indian literature in general. The Syndicate of the University of Bombay have been pleased to select me as the Springer Research Scholar to conduct research in Prakrit literature, and here I record my sense of gratitude to the Syndicate for enabling me to make my study about Rama Panivada and his Karnsavaho so exhaustive. I offer my thanks to various scholars who helped me in the preparation of this edition. Pt. K. SAMBASHIVA SHASTRI, Trivandrum, kindly made the Travancore Ms. accessible to me ; Prof. M. R. BALAKRISHNA WARRIER, M.A., Trivandrum, favoured me with a valuable summary of his Malayalam articles about Rama Panivada and his activities ; Rao Saheb Mahakavi Ullur S. PARAMESVARA AIYAR, M.A., B.L., and Mr. C. K. NARAYANA KURUP, Trivandrum, kindly sent to me some notes about Rama Panivada and his compositions ; my friend Dr. V. RAGHAVAN, M.A., Ph.D., Madras, helped me with important references about our author's works; and my friend Prof. M. V. PATWARDHAN, M.A., Sangli, spared his valuable time and made important suggestions in the Translation and Notes : to all these scholars I offer my sincere thanks. My thanks are also due to my pupil and friend Mr. J. N. DANI, B.A., B.T., Kolhapur, who helped me in arranging the Glossary. I record my sense of gratitude to the Prime Minister, Kolhapur Government, Kolhapur, for the help given towards the publication of this book.

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PREFACE vii I feel much obliged to Pt. NATHURAM PREMI, Bombay, for his valuable assistance in the publication of this book. I should also note with satisfaction the kind cooperation that I received from the New Bharat Press and the Karnatak Press which have ably discharged their responsibility. I have to acknowledge my indebtedness to the Univer. sity of Bombay for the substantial financial help it has granted towards the cost of the publication of this book. karmanyevadhikaras te Rajaram College, Kolhapur : June 1940. A. N. UPADHYE.

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BY THE SAME AUTHOR 1. PAMCASUTTAM of an Unknown ancient writer : Prakrit Text edited with Introduction, Translation, Notes with Copious extracts from Haribhadra's Commentary, and a Glossary. Second Ed., revised and enlarged, Crown pp. 96, Kolhapur 1934. 2. PRAVACANASARA of Kundakunda, an authoritative work on Jaina ontology, epistemology etc. : Prakrit text, the Sanskrit commentaries of Amrtacandra and Jayasena, Hindi exposition by Pande Hemaraja edited with an English Translation and a critical elaborate Introduction etc. New Edition, Published in the Rayachandra Jaina Sastramala vol. 9, Royal 8vo pp. 16 + 132 + 376+ 64, Bombay 1935. 3. PARAMATMA-PRAKASA of Yogindudeva. An Apabhramsa work on Jaina Mysticism: Apabhramsa text with various readings, Sanskrit Tika of Brahmadeva and Hindi exposition of Daulatarama, also the critical Text of YOGASARA with Hindi paraphrase: edited with a critical Introduction in English. New Ed., Published in the Rayachandra Jaina Sastramala vol. 10, Royal 8vo. pp. 12 + 124 +396, Bombay 1937. 4. VARANGACARITA of Jatasimhanandi. A Sanskrit Puranic kavya of A.D. 7th century: Edited for the first time from two palm-leaf Mss. with various readings, a critical Introduction, Notes, etc. Published in the Manikachandra D. Jaina Granthamala No. 40, Crown pp. 16+ 88+ 396, Bombay 1938.

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INTRODUCTION 1. CRITICAL APPARATUS This editio princeps of Kassavaho is based on the following Ms. material : M--This is a Devanagari transcript on bluish ledger paper, 81 X 13" in size, and belongs to the Rajaram College Library, Kolhapur (R. No. 19201). It is a recent copy made from a Ms. in the Government Oriental Mss. Library, Madras. In the Triennial Catalogue (Madras 1935), Vol. VI, Part I, Sanskrit, the Madras Ms. (R. No. 5190) is thus described : Paper. 104 X 94 inches. Foll. 38. Lines 20 in a page. Devanagari. Good. Transcribed in 1925-26 from a Ms. of M. R. Ry. Klsna Variyar, Nelinattur Variyam, Shoranore, Malabar District.' It is complete in four Sargas and contains both text and Chaya. I have personally seen this Ms. Though written in Devanagari characters, the double consonants are represented by nolli, i.e., a fat zero the following consonant of which is to be pronounced as a double consonant. I learn from the Curator that the original of it was a palm-leaf Ms. My conjecture is that it might have been written either in Malayalam or Grantha characters. I tried to put myself in communication with the owner of the Ms., but I was not successful. All my readings are taken from the transcript (in the Rajaram College Library) which contains both the Prakrit Text and the Sanskrit Chaya. There are certain lacunae in the text, and the Ms. bristles with scribal errors here and there. On the whole the Sk. Chaya is better preserved.

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KAMSAVAHO T-Three other Mss. of Kamsavaho with Sk. Chaya are knowr. from Travancore. Two of them belong to the Palace Library of His Highness the Maharaja of Travancore, but they are incomplete. The third, which contains the text and the Chaya of all the four cantos, belongs to a private library in Travancore. It is a palm-leaf Ms. written in Malayalam script. I have seen it personally in the Exhibition of Mss. arranged at the time of the All-India Oriental Conference, Trivandrum, 1937. Its description was given thus : 'No. 2533, Substance : Palmleaf, Size : 9" x 11", Leaves : 57 with 8 lines per page and 20 words per line, Script : Malayalam, No. of Granths 600, Owner : the same as that of No. 2533A (i.e., Vasudeva Sarma Avl. of Vattapalli Mattom, Sucindram). Through the kindness of the Curator, Govt. Oriental Mss. Library, Trivandrum, I have received a Devanagari transcript, containing text and Chaya, which I have designated as I in this Edition. This is now presented by me to the Rajaram College Library, and its R. No. is 24619. There is another Devanagari transcript of the palm-leaf Ms. in the Oriental Library, Trivandrum, and through the kindness of Pt. K. SAMBASHIVA SHASTRI I had noted down the readings from it during my short stay at Trivandrum; but as these readings substantially agree with those of T, I have not recorded them separately. The Prakrit Text preserved in both the transcripts, M and T, is very unsatisfactory. The number of lacunae, scribal errors and other irregularities is greater in T than in M. So far as the Prakrit verses are concerned, both these transcripts use { for l. They constantly confuse between p&v, d & dh, p & ph, kh & gh, k & t, between a, i & u, between am & a, u & 1 and between a long vowel and a vowel followed by an anusvara. Very often consonants expected to be double stand single preceded by an anusvara ; and when we want the anusvara, we find the subsequent consonant a double one instead : the number of such

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INTRODUCTION xi errors is very great in both the transcripts. Some of these scribal errors have their origin in the Malayalam script itself in which v & p are quite similar and u, 1 & i are much alike ; and the copyists, being ignorant of Prakrit, were likely to misread the original. In reproducing the Sanskrit Chaya, the copyists are more careful and their performance is not so bad as in the Prakrit portion. The interchange between a double consonant and a consonant preceded by an anusvara is due to the device of Nolli, a fat zero, used in Grantha, Kannada, Malayalam and Telugu scripts when Prakrit was being written. The difference between the sign which indicates anusvara and the Nolli which indicates that the following consonant is to be doubled is very little : the former is a small zero and the latter a fat one ; and the scribes who were ignorant of Prakrit were sure to confuse these two signs. Even the Madras Ms., though written in Devanagari, uses some Nollis on the top of the letters now and then ; and, if I remember right, the local Devanagari transcript at Trivandrum used something like the sign of equality on the heads of letters to indicate that the following letter is to be doubled. This Nolli device gives duplicates like khkh, ghgh etc., but I have uniformly adopted the standard convention of writing kkh, ggh etc. Anunasika is unknown to these Mss. I have used I for | throughout. 2. PRESENTATION OF THE TEXT AND CHAYA When I first read the Text, the scribal errors simply bewildered me. But a close study of the work with the help of both the transcripts enabled me to fill the gaps, to correct the scribal errors and to hit on the right reading. The fact that Rama Panivada has written a commentary on the Praksta Prakasa of Vararuci was enough to indicate that he might have

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KANSAVA HO been following the Sutras of Vararuci, and this was further confirmed by the fact that he uses many Prakrit words specially illustrated in the Sutras and the commentaries of that grammar. So I could conveniently check some of the meaningless scribal errors of the copyists in the light of the Sutras of Vararuci. In so eliminating the errors I had always in view the possibility of misreading the original Malayalam, especially in the case of some letters, already noted above, which are written almost alike in the Malayalam script. When the grammatical standard was well-nigh settled and the possible orthographical errors were deleted, the Sanskrit Chaya helped me, more than once, to lay my finger on the possible original reading. In discarding, discriminating and ascertaining the various readings, I have taken utmost precaution to see that I am not violating the limits of the material supplied by the Mss. After eliminating the scribal errors, if I found that the two Mss. differed, I have adopted one reading and given the other in the foot-notes. When both the Mss. agreed on a suspicious reading, which could not be called a scribal error, I have usually adopted it in view of the metrical necessities etc. When certain forms do not agree with the recognised conventions of the Prakrit language, though both the Mss. concur, I have followed this method : I have put the expected form in the Text with an asterisk to indicate that I have gone beyond the material supplied by the Mss.; and the available readings are given in the foot-notes. I do not claim that my suggestions are final, and the asterisk will immediately attract the attention of the intelligent reader who may have something to say for or against my suggestion. Following the lead of GOLDSCHMIDT1 and PANDIT? I have 1 Ravanavaho, Prakst und Deutsch Herausgegeben von Seigfried GOLDSCHMIDT, Strassburg 1880. 2 Gaudavaho, A Historical Poem in Prakrit by Vakpati, ed. by S. P. PANDIT, Bombay 1887.

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INTRODUCTION xiii added hyphens to indicate the separate members of a compound expression with the hope that this might facilitate the understanding of the text. I have not introduced them meticulously but only as far as practicable. I do agree with PANDIT3 that pi, tti etc. are all used and are to be pronounced as enclitics in Prakrit ; but when he insists that they should be printed without being separated from the words to which they cling, I fear that he is carrying the principle to a logical extreme which results into a practical disadvantage that some of the combinations not only present a difficulty but also assume a misleading form. The convention of writing them separately has been established now through the efforts of eminent editors of Prakrit texts. Really speaking avagraha has no legitimate place in Prakrit Phonology, especially because there is no rigour of Sandhi in Prakrit as in Sanskrit. But remembering that Rama Panivada is writing under strong Sanskrit influence I have introduced the avagraha here and there. If it was not to be introduced, there were two alternatives before me : either the two words should be written in combination or written separately without avagraha. The former would have created some difficulty in understanding and the latter would have given rise to quite awkward words which have never been current in Prakrit in earlier literature. So to avoid these disadvantages I have introduced avagraha which should not be quite objectionable in the work of an author writing under the strong influence of Sanskrit. The transcripts are quite reliable so far as the Sanskrit Chaya is concerned. The Chaya in both the Mss. is in perfect agreement : there is only one solitary case where there is a different reading with a corresponding difference in the Prakrit text (i. 38). There are minor different readings on the common 3 Ibidem, Critical Notice p. x.

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xiv KANSAVAHO Prakrit original ; and only a few important ones are noted by me in the foot-notes. The Chaya ought to be as literal as possible ; but, almost as a rule, the Craya of our Text substitutes the forms of the past tense, Imperfect and Perfect, when the corresponding form in the Prakrit text is that of the Present tense. It is difficult to gauge the reason of this change. In such cases and in others where a literal paraphrase was needed I have added my suggestions in the square brackets in the foot-notes without disturbing the Chaya found in both the Mss. The Chaya is presented by me in the prose form, and at the beginning of each verse I have put a few words of the Prakrit verse in square brackets. For the convenience of reference, a comma is put to indicate where the second line of the Prakrit verse stops, and the Sandhi rules are not strictly observed. In the Mss. the Sanskrit rendering is given immediately after every verse ; but in this edition it is printed continuously at the end of the Text. 3. RAMA PANIVADA AND HIS WORKS The name of the author is mentioned as Rama Panivada in the various colophons of Karnsavaho. From the researches of Mahakavi ULLUR S. PARAMESWARA AIYAR, Prof. M. R. BALKRISHNA WARRIER and other scholars it is quite plain that our author is identical with the famous Kerala poet of that name. Prof. WARRIER has already published in the Malayalam language an extensive critical biography of Rama Panivada, and he has also contributed many articles in Malayalam about this poet. He has kindly sent to me a summary of his researches, and this section about the author is based mainly on his notes. Panivadas or Nambitars formed a caste of Malabar. It

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INTRODUCTION : was their hereditary profession to help the Cakkiars or the traditional actors of Kerala in the staging of Sanskrit plays. There are two types of performances staged by the Cakkiars (Sutas) Kurtu and Kutiyattam. In the former the Panivada or Nambiar was to play on the drum called 'Mizhavu or Muruja-vadya; and in the latter, which consisted in enacting scenes from classical Sanskrit dramas, he played on the drum. It is from this drum (pani-vadya) that the castename Panivada appears to be derived. The women of the Nambiar caste generally took the female parts in these plays. As a result of this, the members of this caste, as a whole, were well versed in Sanskrit; and the tradition of Sanskrit scholarship was deep-rooted in their community. These Nambiars enacted the dramatic narrations of Puranic stories as well. XV Rama Panivada, as his name indicates, belonged to the Panivada or the Nambiar community, a section of the Ambalavasi community of Kerala. He was born about the year A. D. 1707 at Kalakkathu house, Killikurisi Mangalam, a village near the present railway station Lekkidi in South Malabar. Before it was ceded to the British, the village was inIcluded in the Cochin State. His father is believed to have been a Nampudiri Brahmin of Kumaranallur in central Travancore who was a priest in the temple of Killikurisi Mangalam, the famous Saiva temple of the locality. Rama Panivada began his studies first under his father and then under an eminent teacher Narayana Bhattatiri, a learned Nampudiri Brahmin of Thrikkarimon Illam. In his different works Rama refers in glowing and respectful terms 4 M. KRISHNAMACHARIAR: Classical Sanskrit Literature SS 177; the name of our author is given as Ramapaninada! There are some references to Rama Panivada in T. K. K. MENON'S Landmarks in Malayalam Literature, Ernakulam, 1937.

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xvi KANSAVAHO to his teacher at whose auspicious hands were laid the very foundations of his profound erudition and wide knowledge. From the way in which Narayana Bhattatiri is mentioned in different works it appears that the statement saa gurunar catane samallio (i. 2) and the concluding salutation sirigurupaanam namo at the close of the fourth canto have in view this Narayana Bhattapada. It appears from Panivada's tributes that Narayana Bhatta was a great scholar and an eminent teacher. Unfortunately none of his works has come down to us. His place Thrikktarimom Illam was situated only at a distance of seven miles from the birth-place of Rama Panivada. Narayana's family was one of hereditary Tantrins in the famous Saiva temple at Killikurisi Mangalam, and Rama Panivada tells us in his Syikfsnavilasam how his Guru performed the Pratistha ceremony at the time of the renovation of chat temple. This Narayana Bhatta Pada should be distinguished from another Narayana Bhatta (A. D. 1560-1646), the author of Narayaniya, Prakriya-sarvasvam, Manameyodaya and other works. Some scholars have confused these two authors on account of the similarity of names." Rama Panivada had the necessary education and training; but in order to continue a literary career he needed the patronage of some munificent king or nobleman. He left home and first approached Kolatiri Raja of North Malabar. Kolatiri, being engaged in a war against his neighbour, could not offer a cordial welcome and patronage at his court to our author who consequently recorded his sad experiences in the following well-known verse : kolabhUpasya nagare vAsarA harivAsarAH / maSakairmatkuNaizvApi rAtrayaH shivraatryH|| 5 For instance, K. Sambasiva Sastri in his Preface to Vyttavartikam Trivandrum Sanskrit Series No. cxxxi.

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INTRODUCTION xvii Then he lived for some time at the court of king Viraraya of Vettatu Nadu. It was at the request of this king (but according to another Ms., of Ramavarman) that he composed Candrika-vithi to be staged at the Saiva tempie at Triprangotu on the Sivaratri day. Further he found a temporary patron in Muriyanattu Nambilar, a local chieftain of the Mukundapuram Taluk of the Cochin State. During his short stay there he composed a couple of Stotras, Mukundasatakam and Siva-satakam, for his patron. Manakottu Achan was another patron whom Rama Panivada mentions in his Malayalam work sivapuranam. About A.D. 1735 this patron passed away, the family became extinct, and the estates passed into the possession of Paliyatu Achans, the traditional ministers of the Raja of Cochin. Our author became a dependant of Paliyatu Achan with whom he lived at Jayantaor Chenna-mangalam for some time and received his generous support. It is here that he composed his Visnu-vilasam and its Malayalam version Visnugita at the instance of Sri-Kubera, the Paliyam chief. Rama Panivada had spent some time in the neighbourhood of Kumaranallur, to which place his Brahmin father belonged. During his stay here he came into contact with Thekketathu Bhattatiri of Kutamalur Matom and through him with the Raja of Ampalapuzha or Chempakasceri. The Nampudiri kings of Chempakasceri were liberal patrons of poets and scholars from times immemorial ; and many of the Kerala poets enjoyed their proverbial patronage. Rama Panivada spent some years of his life at the court of the then ruling king Deva Narayana. On his request Panivada wrote many works the chief of which was the Mahakavya Raghaviyam, the magnum opus of the poet, along with a commentary on it. Deva Narayana's patronage appears to have been quite fruitful since it was at his court that our author wrote Pancapodi

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xviii KAMSAVAHO which is written on the model of Astapadi of Jayadeva and it appears to have been inspired by the study of Mahanatakam and Bhagavadajjukiyam of Bodhayana. It was followed by Lilavati-vithi and the Prahasana Madanaketucaritam which was staged in the temple of Ranganatha. In honour of the family deity of Deva Narayana he composed Ambaranadisa-stotram. With the conquest of the kingdom of Chempakasseri by Vira Martanda Varman, the founder of modern Travancore, about the middle of the 18th century A. D., Rama Panivada became a dependant of this illustrious monarch who was a liberal patron of men of letters and under whose benevolence many Sanskrit and Malayalam poets flourished. On the request of this patron our author wrote Sitaraghavam that was staged at the Sri Padmanabha temple at Trivandrum. Later on he enjoyed the patronage of Kartika Tirunal Maharaja who was a nephew and successor of Martanda Varman. He received a decent grant from this patron which he spent on the renovation of the Mandapam of the temple at Killikurici Mangalam. He accompanied the Maharaja during the royal visits to Sucindram, Thiruvattar, Kanyakumari, Padmanabhapuram and other famous temples of South Travancore. He left Trivandrum and settled for some time at Ampalapuzha. It is believed that he died (about A. D. 1775) as the result of the bite of a rabid dog. Rama Panivada seems to have remained a bachelor througho'it his life. Though Rama Panivada had to change his patrons now and then, his literary career appears to have been quite unbroken and rigorous. Patrons he sought, not to praise them and to get prizes, but to have better opportunities to toil in the fields of learning and scholarship. New circumstances and novel 6 Ambaranadisa is the god at Ampalapuzha, the family deity of the Raja of Chempakasceri.

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INTRODUCTION opportunities only inspired him to work in new moulds and on novel models with the result that Rama Panivada has left to posterity a vast amount of literature varying in taste and varied in form. xix 8 The works of Rama Panivada are found in three languages Sanskrit, Malayalam and Prakrit. To start with his Sanskrit works, he has composed four dramas: Candrika,' a Vithi; Lilavati, a Vithi; Madanaketucaritam," a Prahasana; and Sitaraghavam,10 a Nataka. He wrote the following Kavyas : Visnuvilasakavyam,11 which has eight cantos and deals with the first nine Avataras or incarnations of Visnu and on which he himself has written a svopajna-tika called Visnupriya; Bhagavatacampu,12 which is a campu-kavya dealing with the story of the Dasamaskandha of Bhagavata, of which only seven Stabakas have been discovered and the story runs upto Mucukundamoksa, and which is said to contain numerous Prakrit passages; Raghaviyam,13 with a svopajna commentary called Balapathya which is the greatest of Panivada's works consisting of twenty 7 Candrika, a Vithi: Trivandrum Curator's Office Collection for Kollam 1093-94, p. 13, No. 96. 8 Lilavati, a Vithi, Ibidem No. 99. -9 Madanaketucaritam: three Mss. in Paliyam Library, Cochin State; Govt. Oriental Mss. Library Madras R. No. 5163. 10 Sitaraghavam: Govt. 0. Mss. Library Madras D. No. 12721 and R. No. 5135; Trivandrum Palace Library Catalogue No. 1600; Trivandrum Curator's Office Collection for Kollam 1104, p. 27, No. 148. 11 Visnuvilasam: Govt. O. Mss. Library Madras No. 3442; Paliyam Library, Cochin State. 12 Not less than nine Bhagavatacampus by different authors are mentioned by KRISHNAMACHARIAR in his Classical Sanskrit Literature. He does not, however, attribute one to Rama Panivada. 13 Raghaviyam Govt. O. Mss. Library Madras D. No. 11706 and R. No. 3397; Trivandrum Curator's Office Collection for Kollam 1104, p. 29, No. 162; Ibid. for Kollam 1087, p. 29, No. 282 also Paliyam Library Cochin State.

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XX KANSAVAHO cantos and covering 1576 verses. Some of his important Stotras are : Mukundasatakam, 14 sivasatakam, Pancapadi, Ambaranadisa-stavam, Suryasatakam. He has some scientific works also to his credit : Vittavartikam, i3 which deals with classical Vsttas or metres ; Rasaktida, a work in four Paricchedas illustrating different metres ; Talaprastara, which deals with the subject of Tala and is written in Anustubh metre. Besides his Svopajna glosses noted above, he has written a commentary called Vilasinile on Sti-Kisnavilasakavya of Sukumara and ancther called Vivarana on the Dhatukavya17 of Narayana Bhattapada. The latter appears to have remained incomplete. Rama Panivada has written a large number of works in Malayalam,15 and only some important ones may be noted here: Sri-KTsnacaritam in the mani-pravala style ; Sivapuranam (kilippattu ) ; Pancatantram (kilippattu) which is an adaptation of the Sanskrit work in Malayalam; Rukmangadacaritam (kilippattu) ; etc. It is a point of great controversy among the Malayalam scholars whether Rama Panivada and Kunjan Nambiar were identical or two independent authors of the Kerala country. Eminent scholars like Mahakavi Ullur S. Parameswara AIYAR, Prof. WARRIER, Dr. GODAVARMA and others have discussed this subject in great details. Those who accept 14 Mukundasataka with a commentary by his fellow-pupil : Govt. 0. Mss. Library Madras, No. 3403. 15 Vittavartikam and Rasakrida ed. by K. Sambasiva Sastri, Trivandrum Sanskrit Series No. cxxxi, Trivandrum 1937. 16. Vilasini : M. KRISHNAMACHARIAR'S Classical Sanskrit Literature $ 169; the first four cantos are published at Palghat with the commentary of Rama Panivada. 17. Dhatukavya-2'yakhya : Govt. 0. Mss. Library Madras No. 3656. 18. Those who are interested in other Malayalam compositions of our author should kindly read the various contributions on the subject by Prof. WARRIER of Trivandrum. mational

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INTRODUCTION the identity naturally attribute the authorship of the Tullal pattus, about seventy in number, to Rama Panivada. They are like ballads which are extremely popular in the Kerala country. xxi Rama Panivada has not stopped with Sanskrit and Malayalam, but he has tried his hand at Prakrits as well. For this, he had already some background. As a Sanskrit playwright the study of Prakrits was indispensable to him. Ancient conventions require that specific characters should speak particular dialects. It is this need that kept the study of Prakrits quite alive in the Kerala country. It is reported that the Prakrta-prakasa of Vararuci and the Setubandha or Ravanavaho of Pravarasena formed a part of the course of study of the Kerala Panditas who have made their own contributions to Prakrit literature. Bilvamangala, also known as Krsnalilasuka, composed a Prakrit kavya Govindabhiseka1 or Sricihnakavya to illustrate the rules of Vararuci's Prakrit grammar after the model of Bhattikavya. It contains twelve cantos of which the first eight were composed by Bilvamangala and the rest by Durgaprasadayati, also a Keraliya, who was his disciple and commentator. Both of them flourished in the 13th century A.D.20 Among other Prakrit works written by Kerala authors may be mentioned Sauricarita,21 a Yamaka-kavya, of Srikantha and Candralekha,22 a drama of the Sattaka type, of Rudradasa, both of whom lived before Rama Panivada. As to Rama Panivada's contribution to Prakrit litcrature we find Prakrit passages in his dramas like Madanaketucaritam and Sitaraghavam. It is also reported that his Bhagavata Govindabhiseka: Govt. O. Mss. Library Madras Nos. 4156, 19 5156B. 20. There are different opinions about his age which is put between 11th and 15th century A.D. 21 Sauricarita : Govt. O. Mss. Library Madras No. 4321. Candralekha : Govt. O. Mss. L. Madras No. 3207(a). 22

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xxii KAMSAVAHO campu contains some Prakrit passages. His more important works in Prakrit however are : Prakrta-vrttih, Usanirddham24 and Kansavaho. ___I have personally seen a palm-leaf Ms. of Prakrta-vrttih in the exhibition of Mss., arranged at Trivandrum, at the time of the session of the All-India Oriental Conference in 1937. The description of the Ms. was given thus : G.O. L. No. 2533A, Substance : palm-leaf, Size : 9" x 1}", Leaves 58 with 8-9 lines per page and about 28 letters in a line, Script : Malayalam, Number of Granthas 900, Owner : Vasudeva Sarma Avl. of Vattapalli Mattom Sucindram, Subject : the grammar of Prakrit languages. This Ms. contains the Prakrit Sutras at the end. The Ms. opens thus : sukRtibhireva gRhIto bahuvidharUpAvatAragambhIraH / jayati sa bhagavAnviSNuH prAkRtazAstraprapaJca iva // praNipatya vinarAjaM zrIgurupAdAn munitrayaM vANIm / zaGkaramadrisutAM ca prAkRtavRttirmayA kriyate // tatrAdau lipivinyAsasaGketaH kriyate-bindurvidhIyate etc. The Ms ends thus : paizAce'pi 'zaSasAM saH' 'raDalAnAM La:' ityetAvanmAtrameva vizeSaH, iti tAvadatraivAntabhUto'yamapi vizeSaH / prAkRtalakSaNametatprAyeNoktaM prayogamanusRtya / aparamapabhraMzAderlakSaNamanyatra vijJeyam // The colophon runs thus : iti rAmapANivAdaviracitAyAM prAkRtavRttAvaSTamaH paricchedaH / samAptA ceyaM praakRtvRttiH|| Through the kindness of the Curator, Government Oriental Mss. Library, Trivandrum, I have received a Devanagari transcript 23. PrakstavTttih: Govt. O. Mss. Library Madras No. 5209; The Trivandrum Maharaja's Palace Library No. 764; Paliyam Library, Cochin State. 24. Usaniruddham : Govt. O. Mss. Library Madras No. 2817.

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INTRODUCTION xxiii of the Sutras from this Ms. Ignoring all sorts of desperate errors of copyists I have compared this Sutrapatha with the one edited by Cowell, and I have the following observations to make. There is, however, no doubt that Rama Panivada is commenting on the Sutras of the Prakrta-prakasa of Vararuci. Here and there some Sutras are differently worded. Some sutras from chap. 3 are transferred to chap. 4 which may be a scribal blunder. The 5th chapter covers chaps. 5 & 6 of COWELL's edition. Our Ms. has in all only eight chapters which cover the matter of the nine chapters of COWELL'S text. A careful study of the recension of Vararuci's Sutras on which Rama Panivada has commented would be interesting especially when the authenticity of some of the chapters of Vararuci's grammar is still an open question. Usaniruddham is the next Prakrit work attributed to Rama Panivada. The Madras Ms. does not mention the name of the author. There are four cantos, and the story is based on the famous episode of the marriage of Usa and Aniruddha as we get it in the Bhagavata. Through the kindness of my friend Dr. RAGHAVAN I have received some excerpts from the Madras Ms. which contains the Prakrit text and the Sanskrit Chaya. I shall reproduce here some Prakrit verses with minor emendations here and there. The opening Prakrit line stands thus : sirigaNavaiNo Namo avigyo hodu / Then there are these verses : 1 bhaissa vo bhattiguNalliANaM bhaveja NicaM bhaavaM gaNeso / dANeNa jo pINai mANasAiM vaNIvaANaM va mahuvvaANaM // 2 abodhaNihAvihalo vi loo jIse pasAe sai saMpabuddho / sacchaMdado bajjhai kavvagaMpha cittammi No bhAsau bhAraI sA / / 6 atthAvabohammi pahANabhUde goNataNeNovaaraMti saddA / de sakaA vA uNa pAaDA vA buhANa ko tattha visesasaMgo // 8 usANiruddhaM ti mae NibaddhaM jaM ki pi kavvaM jaduNAhadevvaM / sudaM suNaMtANa vi jaMNa tattI jahiM khu vANNanai bAsudevo //

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xxiv KAMSAVAHO The colophon of the First canto stands thus : ia usANiruddhe paDhamo saggo / The concluding verse, at the close of the Fourth canto, reads thus: gei gfaeraryaqaferit fafuiffe331- joNhApaNhuaverivikamatamo ubhAsiAsAmu ho / ANaM daNNava puNNamAharo savvANa nivvANado Bat Raguizon feug at Medaudeasra || Even these stray extracts are enough to show how the author is indebted to Rajasekhara : the first verse reminds us of the Nandi of Karpuramanjari and the sixth closely agrees with K.-manjari I. 8. 4. KAMSAVAH025: A CRITICAL STUDY i) EARLIER ACQUAINTANCE WITH THE WORK. In the Catalogus Catalogorum (Parts I-III, Leipzig 18911903) of Theodor AUFRECHT we have an entry about Kamsvadha which is described as a Prakrta-kavya (p. 77). AUFRECHT gives reference to OPPERT 5918 which stands for 'Lists of Sanskrit Mss. in Private Libraries of Southern India' by Gustav Oppert, Vol. I, Madras 1880-4 and Vol. II, Madras 1885-8. Though noted by AUFRECHT, somehow this work has not attracted the attention of Prakrit scholars. That was quite natural in view of the meagre information given by AUFRECHT. 25 I wished I read the name as Kamsavaham; but out of regard for my predecessors, GOLDSCHMIDT and PANDIT, and to maintain uniformity with Ravanavaho and Gaudavaho I have regularly written Kamsavaho.

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INTRODUCTION Lately a Ms. of Kamsavaho is described in the Triennial Catalogue of Mss. in the Govt. Oriental Mss. Library, Vol. VI-Part I Sanskrit, Madras 1935. One of the transcripts used for this. edition is copied from the Madras Ms. XXV ii) THE THEME AND THE TITLE. Rama Panivada has composed Kamsavaho (in 233 Prakrit verses divided into four cantos) to celebrate the incident of the slaying of Kamsa by Krsna. This event, which is described at length in Srimad Bhagavatam, has something dramatic and thrilling about it. As such it has engrossed the attention of many a literary genius in India from pretty early times; and if the author happens to be a devotee of VisnuKrsna he is all the more eloquent in glorifying the destruction of that cruel Kamsa at the hands of boy Krsna. Tradition attributes a play Kamsavadha to Panini. Patanjali26 discusses the dramatic representation of the slaying of Kamsa, one party painting their faces red and the other black. Among the plays attributed to Bhasa, there is Balacarita which depicts in a lively and vivid manner the various feats of Krsna culminating in the slaying of Kamsa. Among other Sanskrit plays dealing with this incident we might mention Kamsavadham,27 in seven Acts, of Sesakrsna who was a contemporary of Akbar; then the Kamsavadham of Damodara; 28 and lastly Kamsavadham of Haridasa29 who is a modern author from East Bengal and who, it is said, composed this work at the age of fourteen. Dharma 26 KEITH: Sanskrit Drama p. 32, 36 etc.: M KRISHNAMACHARIAR: Classical Sanskrit Literature, p. 535. 27 Published in Kavyamala, No. 6, Bombay 1888; See Classical Sanskrit Literature, p. 654. 28 Ibidem, p. 641, foot-note 2. 29 Ibidem, p. 673.

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xxvi KAMSAVAHO suri (15th Century A.D.) had composed a Kamsavadhanataka, but it is not now extant. His Prakrit poem Hamsasandesa also is lost to us.29a Among the Sanskrit poems dealing with this event we have Kamsanidhana,30 a poem in seventeen cantos without labial, by Rama; and then there is Kamsavadha31 by Rajacudamani who flourished about the middle of the 17th century. Further there are two Kamsavadha-campus32 composed at the close of the last century: one by Keralavarman of Malbar and the other by Haridasa of East Bengal. Whatever may be the literary merits of these compositions, especially on the back-ground of classical works, one thing is certain that the slaying of Kamsa has been an engrossing subject for writers throughout several centuries. Thus Rama Panivada has his predecessors and successors in handling this theme in the realm of Sanskrit literature. In the field of Sanskrit classical poems we have already Ravanavadha33 of Bhatti and Sisupalavadha of Magha; and, as shown below, Rama Panivada shows an intimate acquaintance with the latter in composing his Kamsavaho. However in selecting this particular form of the title for his poem, it is more probable that Rama Panivada has in view the two earlier eminent poems, viz., Dahamuhavaho (or Ravanavaho, also called Setubandha) of Pravarasena and Gaudavaho of Vakpati.. iii) SUMMARY OF THE CONTENTS. The author, being devoted to his Teachers and pressed by his ardent devotion for Visnu-Krsna, narrates the story of 29a Proceedings and Transactions of the 10th All India O. C. Trivandrum, 1940, pp. 502 etc. 30 A Third Report of Mss. etc. by P. PETERSON, p. 355. 31 Classical Sanskrit Literature, p. 235. 32 Ibidem, pp. 258 & 666 33 It is usually styled Bhattikav ya.

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INTRODUCTION the slaying of Kamsa by Krsna who is now adorning the settlement of cowherds as a son of Yasoda and attracting the attention of affectionate Gopis (1-2). xxvii One evening Akrura comes to Gokula; he has the rare opportunity of having an audience with Krsna; and he is plunged in joy at the vision of the divinity (i. 3-8). Krsna received him affectionately, inquired about his welfare, treated him with dainty dishes, and expressed joy at his arrival. Akrura draws the attention of Balarama and Krsna to the fact how, despite their potent valour, Kamsa is waxing strong; and their parents are pining in the prison house. Krsna offers an apologetic explanation that their attachment for their fosterparents is too deep, and then inquires of Akrura about the special purpose of his arrival (i. 9-14). Akrura adds in reply that Kamsa, as a rule, does not like anybody going to them; but that he is lucky that Kamsa has sent him to invite Balarama and Krsna to Mathura to attend the Bow-festival which, really speaking, is an open pretext to conceal his motive of killing them. Thus Akrura delivers the royal invitation, indicates Kamsa's intention, and requests the brothers to see whether they would or would not attend the bow-festival at Mathura (i. 16-26). Balarama is in a mood of hesitation, but Krsna fearlessly decides that he should start with his party with which his brother agrees; and all of them start for Mathura next morning (i. 27-34). Krsna was the very life of Gopis; his departure brings on them deep pangs of separation; they curse Akrura who took Krsna to Mathura; and all of them begin to lament in various ways recollecting the image of Krsna and their sports with him in Vrndavana (i. 35-55). On the instructions of Krsna Akrura consoled them requesting them to put up with this temporary separation because Krsna was going out on an important mission (i. 56-60).

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xxviii KAMSAVAHO Akrura drove the chariot; they all halted on the banks of Yamuna; and it is there that Akrura had the wonderful experience of seeing Krsna everywhere. Soon Krsna and his party entered the town of Mathura to the joy and satisfaction of all the young folk of the town (i. 61-64). In that town of Mathura Rama and Krsna met a washerman, carrying the clothes of Kamsa, from whom they demanded some clothes; but they were warned by him that this audacity of theirs would cost them their heads, if the matter were to reach Kamsa's ears. Krsna not only robbed him of the clothes but sent him also to the grave by plucking his head with his nails (ii. 1-10). As they proceeded, they met a certain hunchbacked but beautiful lady who, on their inquiry, informed them that she was an artisan in the royal harem, that the adverse fate had made her physically crooked, that she was going to present the fragrant saffron to Kamsa, and that she would give a part of it to them as their bodies were quite worthy of it. They gladly accepted that saffron which added to their physical glow. By his divine touch Krsna rendered her bent body straight. With a bit of audacity she made passionate advances to Krsna who appreciated her love but told her that he was too busy with serious work on hand to dabble in love affairs at this stage. Krsna bade good-bye to her who was pleased with a prospective assurance of his return, and proceeded towards the royal residence (ii. 11-30). Rama and Krsna came to the gymnasium for archery which was duly decked for the function. There, despite the warning of the servant, Krsna picked up the bow which was smashed to pieces as he tried to string it; and there was such a great noise that Kamsa was thrilled to the core of his heart. The soldiers on guard who took the offensive received a good

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INTRODUCTION xxix thrash. This success of the princes was a matter of joy to all (ii. 31-7). Coming out of the gymnasium and strolling in the courtyard Klsna described the various scenes which greeted his eyes in that town of Mathura. Thus follows a picture of that town in the mouth of Krsna who describes in poetical terms various scenes such as the lofty palaces, the extensive moat, the bright mansions, the amorous pleasures of loving couples, the dancing peacock, the singing and dancing parties, the disputes of grammarians etc. Klsna is so much pleased by seeing that town that he waxed very eloquent and described Mathura as the heaven itse f Then in the evening he retired to his place of residence (ii 38-60). Early in the morning, at the appointed hour, the bards begin to sing eloquently just to wake up Krsna and their songs inform Kszsa in an ornate style decked with various poetic embellishments how it is dawning, how the darkness is passing away, how the lotuses are blooming and the Cakravaka birds uniting again, how the rising sun is producing various scenes etc. (iii. 1-20). Krsna left his bed even before the bards pour out their verses, and offered his twilight worship. Putting on brilliant dress and attracting the attention of young ladies along the roads Rama and Klna proceeded towards the city-gate (iii. 21-6). Ambastha, with the elephant Kuvalayapida, tried to stop them at the gate ; but Krsna sent that elephant as well as its master to the grave after putting a vigorous and successful fight. With the tusks in their hands as trophies they were an object of pleasant sight for all the people. As desired by Kamsa there ensued an unfair duel in which Kisma occupied himself with Canura and Rama with Mustika. People felt that it was an unequal duel, because Rama and Krsna were just boys while their partners were heavy wrestlers. There was a thrilling

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XXX KAMSAVAHO fight, and at last Rama and Krsna killed their opponents and routed the wrestlers who tried to overpower them (iii. 27-51). When that wicked Kamsa expressed his intention to imprison. them all, Krsna attacked him, felled him on the ground, and finished him to death with all vehemence. The naughty brothers of Kamsa tco were killed. By way of congratulations gods showered from heaven flowers on their heads (iii. 52-60). The slaying of Karisa by Kisna was a matter of relief to the whole world. Thereafter people became happy ; ladies could move about freely ; youths had no hindrance in their sports; and lastly even voluptuaries got a good deal of liberty (iv. 1-5). Kisma appointed Ugrasena as the king and released his parents from the prison house. Both Balarama and Kssna paid respects to their parents who blessed them and embraced them with filial affection (iv. 6-9). Then Akrura comes, pays respects to Vasudeva and his wife, and then narrates the various events in the childhood of the princes : the transference of child Krsna to the bed of a cowherdess on a cloudy night when the river Yamuna became easily fordable ; destruction of Putana by Krsna by sucking her blood ; defeat and death of Tinavarta who had assumed the form of whirlwind ; Yasoda's binding of Ktsna to the mortar which he pulled through and uprooted a couple of Arjuna trees; destruction of Bakasura and Aghasura ; humiliation of Brahman by Kisma ; different sports of Kisna in Vindavana etc. ; destruction of Dhenuka by Balarama ; Krsna's dancing on the hood of Kaliya serpent and consequent banishment of it ; his drinking. of conflagration ; smashing of Pralamba by Krsna : Krsna deprives Gopis of their garments ; refusal of the food by the sacrificial priests but the same respectfully offered by their pious. wives; the worship of Gopas diverted from Indra to Govardhana ; consequent rain-deluge was brought by Indra but all the

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INTRODUCTION xxxi people were protected by Klsma who lifted up the Govardhana mountain on his little finger ; Krsna coronated as Gopendra ; Kisna's rescue of Nanda from Varuna's abode ; the graceful Rasa sports of Krsna ; disillusionment of proud maidens; and the destruction of Sankhacuda, Arista, Kesi, Vyoma and lastly Kamsa who invited them with the pretence of the bow-festival (iv. 10-46). The parents were pleased to hear these events from Akrura's mouth; they embraced and blessed the princes who looked all the more graceful and glorious (iv. 47-8). The author declares that this poem is like a ford for those who want to cross the ocean of Prakrit literature ; and in conclusion he solicits the protection of Visnu. iv) THE FORM, THE SOURCE AND THE MODEL. It is clear from the perusal of the contents that our author has practically given the biography of Krsna upto his slaying of Kamsa, though the title of the work is Kamsavaho which might tempt us to expect that the poem glorifies merely the slaying of Kamsa. The whole of the fourth canto is like an appendix narrating the various events from Kisna's life including the slaying of Karsa (iv. 45) artificially put in the mouth of Akrura. Though they afford an opportunity for the author to exhibit his poetic skill, certain sections stand out a bit * detached and come like intruders in that context, for instance, the elaborate description of Mathura put in the mouth of Krsna and that of the exploits of Krsna in the mouth of Akrura. There are other portions which are occupying more space than usual when we compare their length with the general scope of the poem : the lamentations of the Gopis and the songs of bards. It is true that it is in these sections that Rama Panivada is seen at his best as a poet. Rama Panivada appears to be an ardent devotee of Visnu

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xxxii KANSAVAHO Kisna and a close student of his biography. His Bhagavatacampu, noted above, deals with the Tenth Skandha of Bhagavata which is a fine biography of Krsna. So far as the facts of the contents are concerned, Kamsavaho also is solely indebted to Bhagavata. Every detail of Krsna's life included in this work can be traced to Bhagavata, as it is clear from the references given by me in the Notes. Though the handling of the topic and the poetic elaboration are quite independent and belong to our author, we find parallel ideas in similar contexts ; and at times the wording also is alike (see my notes on i. 4; ii. 8, 15; m. 38, 54 ; iv. 12, 21, 22, 37 ; etc.). Though the events are taken from Bhagavata, our author shows originality and skill in narrating them with some dramatic effect, as we see in the case of his portrayal of the incidents of the washerman and the saffron girl (ii. 2-10, 11-30). The sentiment surrounding the meeting of Ktsna with the saffron girl (ii, 11-30) shows how our author is capable of creating artistic situations and weaving graceful conversations. Apart from the fact that Rama Panivada has composed some works in Sanskrit, the high-flowing style of Kaisavaho is sufficient to indicate the influence of classical Sanskrit writers like Kalidasa, Magha etc. on our author. Some of his poetic ornaments remind us of earlier Sanskrit works; and I have noted some such references in my Notes. Kamsavaho covers the same part of the life of Kisna as depicted in the Balacarita of Bhasa, but I do not find any striking similarities between the two works. To me it appears that Sisupalavadha was the model before our author when he composed Kamsavaho. There are close similarities between the two works, and they are far from being accidental. There are some parallel situations in both the texts : arrival of Narada in $. i and that of Akrura in K. i; Akrura's address to Krsna (K. i. 15-16) reminds us of Narada's address (S. i. 31 etc.);

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INTRODUCTION xxxiii corresponding to the description of Dvaraka (s. iii. 33 etc.), we have here (K. ii. 39 etc.) the description of Mathura put in the mouth of Krsna ; announcement of the morning by the bards (S. xi. 1 & K. iii. 2); and lastly just as Bhisma praises and narrates the various events from Kisna's life in s. xiv, so also Akrura is doing here in K. iv. Not only that there are common or parallel ideas, but some of them are expressed in similar words : $. ii. 13 & K. i. 14 ; S. i. 31 & K. i. 15 ; S. xvi. 35 & K. i. 29 : S. xv. 17 & K. i. 40; $. xiv. 64, xx. 79 & K. ii. 9; , ii. 79 & K. ii. 47 ; S. viii. 14 & K. ii. 5 K. ii. 50 ; S. xi. 24 & K "ii. 5 ; S. xi. 49 & K. iii. 15; $. xi. 55 & K. iii. 17; S. xi. 43-5 & K. iii. 18 ; etc. In addition to these some other points of similarity might be noted as well. S. begins with the phrase sriyah palim and K. with sinia naho, and the titles of both works are of the same pattern. Though it is not a good criterion of parallelism, especially when the Sanskrit vocabulary is almost oceanic and the literature sufficiently extensive, still one must say that Rama Panivada has much in common with the vocabulary and the turns of expression met with ... Sisupalavadha. In the description of the town and the songs of the bards many ideas and words are common. Des pite many points of agreement, it is really creditable that Rama Panivada is not a slavish and mechanical imitator. One feels that Magha is being followed, but Rama Panivada has everywhere his touch of variety, if not speciality. I feel that it is not a case of a novice imitating and reproducing. Rama Panivada has so thoroughly mastered sisupalavadha that ideas and expressions from Magha are being echoed in this work without any special or intentional effort on the part of our author. This is not impossible when we remember that our old Panditas committed to memory not only Amarakosa but also Raghuvarsa, Meghaduta, Sisupalavadha etc. Any one who is acquainted with the classical poems like

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xxxiv KANSAVAHO Ravanavaho and Gaudavaho would expect that Karnsavaho must be heavily indebted to these eminent predecessors in the field of Prakrit literature. I have carefully studied these texts, but I have not been able to detect their influence on our author to any appreciable extent. A few ideas, forms and turns of expression in Kansavaho remind us of Ravanavaho, and there is one verse in our text (i. 36) which closely agrees with that in Ravanavaho (iv. 20). Between Gaudavaho and Kansavaho there is hardly any similarity that could attract my attention. One idea is similar, but it is a common property of many authors as I have shown in the Notes. Though there is nothing particularly common, still the style of scme verses reminds us of Rajasekhara's verses in Karpuramanjari. v) ON THE PRAKRIT DIALECT OF KAMSAVAHO. A) SPECIAL TRAITS OF THE AUTHOR'S DIALECT. In studying the Prakrit dialect of this work we have to take into account many things : our author belongs to the last period of Prakrit literature ; with him the Prakrit language is a purely literary language in the sense that he studied Prakrit grammars and texts, and then wrote this poem ; he is writing in a place where the then spoken languages were not likely to influence his language, and lastly he is a thorough master of Sanskrit in which too he could compose poems with equal if not greater fluency and elegance. Under these circumstances, a detailed grammatical analysis would not serve any great purpose ; so what is essential for us to know is how far Rama Panivada conforms to the standards of Prakrit grammarians and in what details he has his specialities. We have seen above that Rama Panivada has written a commentary on the Prakrta-prakasa of Vararuci, and so we

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INTRODUCTION expect him to have followed this grammar in handling the Prakrit language. This expectation is fulfilled to a great extent, and we would not be wrong in saying that our author is mainly following Vararuci's grammar and its successors. In the vocabulary of Kamsavaho there are many conspicuous words and forms which are met with in the Sutras of Vararuci and the commentaries thereon: acchera, amelo, gahira, ghola, cimdha, nolla, dualla, panolla, pariccemu, pasutta, moha ( mayukha), rumbha, ruva, vale, vijjuli, sumdera, somala etc. So far as the substantial stock of vocabulary is concerned, our author is closely following the first nine chapters of Vararuci's grammar. XXXV Secondly, we come across certain words and forms which, according to PISCHEL'S 34 analysis, are known to us from the Prakrit prose of the dramas: adihi (ii. 50), assu (i. 35), tui (i. 19), paidi (iii. 25), paduma (iii. 2), pahudi (iv. 34), pidara (1. 12), bhavam (i. 14), bhadara (i. 27), vivuda (iii. 10), radana (ii. 49), sakkuna (iii. 33), etc. Of course it is not claimed that these forms cannot be derived by a liberal and hypercritical application of the Sutras of Vararuci. Thirdly, we have in this work a large number of nominal and verbal forms which are direct corruptions of Sanskrit forms according to the well-known rules of phonetic change: idam vao (i. 28), jonhaam (iii. 6), thaliam (ii. 38), punnimaam35 34 PISCHEL: Grammatik der Prakrit-Sprachen, Strassburg 1900; and also its Index by Zilva WIKREMASINGHE, Bombay 1909. 35 It is interesting to note that Bhasa's Prakrit shows such forms (PRINTZ: Bhasa's Prakrta, p. 27) in the Loc. sing. PISCHEL, as far as I remember, has not noted similar forms from any other If such forms are as old as Bhasa, their absence in the subsequent literature is difficult to be explained. Or should we presume that they are the outcome of the Ms. tradition of Kerala country to which the Mss. of Bhasa's dramas and of Kamsavaho belong? source.

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XXXVI KANSAVAHO (ii. 19), vihiaam (ii. 44), dikkhu (iv. 41) ; caatthi (i. 24), musinai (ii. 47), vaharai mho (ii. 25), darti (ii. 52), viin. nanti (i. 16), suamti (ii. 34), ujjihana (iii. 20), etc. Such tendencies are bound to develop in the Prakrit stage especially when the Prakrits, as literary languages, were cultivated under the influence of classical Sanskrit and handled by authors who were themselves Sanskrit writers. Instances of this type are not altogether absent in earlier stages of Prakrit literature ; but being rare they could be accepted as isolated cases of exception. Here, however, the tendency to introduce them is stronger and the number of instances is conspicuously large. Fourthly, Rama Panivada uses certain words and forms which, so far as I know, are his own and not of much frequency in earlier Prakrit literature : kamana (ii. 19), karia (i. 48), kuamda (i. 57, ii. 32, iii. 43), kuvittha or kavittha (i. 28, ii. 35), koccana (ii. 52, 53, 55, 57), kocci (ii. 54), nihela (ii. 52), talaumda (i. 48), panhi (ii. 50), Tasi (= rasmi, iii. 17), vumdara (iii. I, 57), sahar (i. 64), simkhara (iii. 31); kannau (i. 62), nisau (iii. 4), tujjhana (i. 25) ; etc. Some of them can be explained analogically or by further changes in the known forms. I have discussed these in the Notes. Fifthly, words like ammaka (i. 37), ahake (ii. 6) are not quite fitting in the dialect of our text. Ahake is justified according to Vararuci's Sutras (xi. 9) but only in the Magadhi dialect. Sixthly, our author shows a confirmed habit of converting a string of Sanskrit words en bloc into Prakrit. Prakrit grammarians have to deal mainly with Tadbhava words; they generalise certain tendencies according to which Prakrit Tadbhavas were derived from Sanskrit words ; and then these very generalisations served as rules for converting many other Sanskrit words into Prakrits when the latter became purely literary languages. It is an important rule that the intervoca.

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INTRODUCTION XXXVII lic or, in grammarians' words, non-initial and non-conjunct k, g, c, j, t, d, p, y and v are generally dropped. The rule is a good one for all practical purposes. Even in the earlier nages of Prakrit literature we find that this rule has affected a few initial consonants also in some words : im = kis, ira.= kila, una:= punar, na yanami = na janami, ya = ca etc. It only means that these consonants were changed along with the previous words with which they went and thus became non-initial as it were. If at all, in the literary Prakrits, Sanskrit words were to be corrupted into Prakrit, the question may be asked whether a word is to be taken as an unit of corruption or a string of words say as in a compound phrase or in an elegant expression which is conceived by the author primarily in Sanskrit. Common sense demands that simple words should be taken as the units of corruption, and their non-initial and nonconjunct consonants may be dropped according to the above rule. The term 'simple words' included prepositions etc. ; So we have forms like uvazsai, paasai, paznna. It also included some compound words of two members of frequent occurrence : kara-ala, dharani-yala, bhamara-ula ; in these words the whole expression is treated as an unit of change. When the initial consonants of the various non-initial members of a compound expression are being elided, softened etc., on a large scale, it only means that the author first conceives an expression in Sanskrit, and then he converts it into Prakrit at a stretch. This difficulty faced the Prakrit grammarians, and Hemacandra (VIII. i. 177) allows an option admitting both forms like jala-cara and jalayara. Aciram and svajana would give airam and saana, but on that account it would not be justified to use iram for ciram and ana for jana when they are independent words. In our text we do come across some such cases, and both the Mss. agree to adopt the * same reading : iram = ciram (i. 12, 16, ii. 57, iv. 47), ana =

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Xxxviii jana (i. 14, 29, iv. 28), ulam kulam (ii. 58). Some of these words occur more than once; so we cannot brush them aside by attributing them to scribes. These forms appear to be used by the author himself. In all probability the author was led to use such words from their occurrence in compound expressions like airam, suiram, kumiana, muniana, saana, raula etc. which are met with in standard texts like Gaudavaho and others. When these words (ciram etc.) stand as independent units and not as second members of a compound, the practice of eliding their initial consonants is not a healthy one, nor has it any stable foundation in the genuine Prakrit style of early authors. So I have emended these readings; and asterisks are put on them to indicate that they are subjected to editorial improvement. In the very interest of the language the elision of initial consonants in a compound expression, though optionally allowed by the grammarians, has to be practised with restraint. I have noted some striking cases of the elision of initial consonants in Ravanavaho na inam=na dinam (viii. 61), anehim janaih (viii. 65), uram puram (viii. 65); but in every case their presence is due to the necessity of rhyme. The treatment of aspirates like kh etc. is to be considered on the same lines as that of intervocalic k etc. 1 KAMSAVAHO Seventhly, we may also note the treatment accorded to initial conjunct groups. In the light of Vararuci's Sutras (iii. 50 & 57) there is no justification for forms like kkhaam (i. 29), kkhudia (iii. 19), tthuo (iv. 16), ppaalai (iii. 35), ppaidi (iii. 52), ppadinava (iii. 16), ppamauladam (iii. 37), ppalavai (iii. 29, 49, 52), ppavadia (iii. 55), ppasaham (iii. 52), ppaharisa (iii. 37), pponnidda (iii. 41), pphuda or pphudam (i. 29, ii. 5, 18, 38, iii. 18, 58). We get instances of this type in the various readings available for the Prakrit portions of the dramas. Here metre requires them, so they cannot be

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INTRODUCTION xxxix called scribal errors; even in the verses of Karputamanjari36 there are some such cases : na tthanaki (ii. 1), tlhio (ii. 46, iii. 4). This tendency can be explained on the supposition that the whole sentence or a string of words was first conceived in Sanskrit and then converted into Prakrit. This is manifest in some of the verses of Pravarasena, Vakpati and Rajasekhara. This habit, so far as our author is concerned, is quite strong here as seen from the structure of various verses. Lastly, our text shows the development of certain conjuncts in the following cases : bhuvana-ppenadae (ii. 40), pparusa (iii. 47); and they are possibly due to the necessity of metre. PISCHEL has already collected many such cases from Prakrit literature. To conclude, the above facts indicate that Rama Panivada mainly follows Vararuci's Sutras, especially the first nine chapters, with the commentaries thereon ; his dialect is influenced by the Prakrit prose of the dramas; he shows a small number of words which are further deductions from the known forms ; and, as he conceives the expressions first in Sanskrit, we find that many Sanskrit forms are directly corrupted into Prakrit, that some initial consonants are elided and that some initial duplicates are retained. B) THE NAME OF THIS PRAKRIT DIALECT. The term Prakrit is used with various meanings. If we consider the views of the Prakrit grammarians, we find that it is used as a generic term to designate a number of Middle Indo-Aryan literary languages. In this serise Ardha-Magadhi 36 I have noted these readings from Dr. KONOW's text of Karputamanjari (Cambridge, Mass 1901), but I find that Dr. GHOSH has adopted some different readings in two places in his edition. of Karpuramanjari (Calcutta 1939) which has just reached my hands.

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KAMSAVAHO and Pali, the canonical languages of the Jainas and Buddhists, can also be grouped under Prakrit. According to Dandin the pre-eminent Prakrit is Maharastri (maharastrasaya bhasa) and in Micchakatikam the Sutradhara, remarking that he would then speak in Prakrit begins to speak in Sauraseni. Maharastri and Sauraseni being the popular dialects of the dramatic group of Prakrits, the term Prakrit often stood for them. Further, as PISCHEL37 has remarked, the Maharastri is the language meant when one speaks of Prakrit in general ; and it is also considered to be the best Prakrit in which we have classical poems like Ravanavaho, Gaudavaho etc. and compilations of lyrical songs like Gathasaptasati which has become a veritable treasure of quotations drawn by later rhetoricians. Now and then the term Prakrit is used even to indicate some of the Modern Indian languages like Marathi and Kannada38 thereby distinguishing them from Sanskrit. As we can imagine the territorial divisions and social groups in India in early days and as indicated by dialectai names like Magadhi, Sauraseni and Maharastri, it is clear that some of these dialects derived their names from territorial units. It appears that even by the time of Vararuci, if not earlier, they had become stereotyped literary languages in the sense that the writers of these dialects did not write so much from their personal touch with the spoken dialects as from the grammars and the works they studied. Such a procedure has its advantages as well as disadvantages : on the one hand the dia. lects gradually assume a standardised form and dignity and on the other they get isolated from the currents of spoken languages which evolve or degenerate in the popular mouths in their own way. Time, place and usage have created such barriers now and the evidence to the point is so meagre that to-day it 37 38 Grammatik etc. SS 12. S. B. JOSHI : Kannadada Nele (Dharwar 1939) p. 28.

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INTRODUCTION is wellnigh impossible to get any idea of the original Magadhi, the spoken language of Magadha. We may get a trace of it here and there, but these attempts are all guesses in the realm of probability. With us to-day, and especially with Rama Panivada, names like Sauraseni are conventional Prakrit dialects stereotyped and standardised by grammarians and playwrights. Rama Panivada composed this work after studying the language from grammars and literature. xli Rama Panivada is not explicit about the dialect in which he wrote Kamsavaho. As I understand, he simply hints that it is a Prakrit poem (iv. 48*1). To-day we are accustomed to the terminology of Prakrit dialects used by grammarians like Vararuci, Hemacandra and others and lately set on a scientific footing by PISCHEL who, for the first time, took an extensive linguistic survey of Prakrits with a marvellous critical acumen. So, in the light of the present terminology and material, we shall see whether our author is writing in Magadhi, Sauraseni or Maharastri; and if he shows any dialectal admixture, to what extent can we ascertain it. The material afforded by Prakrit literature and by the Prakrit grammars is such that it is always difficult to state individual exclusive characteristics of any dialect. When distinguishing one dialect from others what can be done at the best is to note essential characteristics not singly but along with other features of that dialect. By exclusive characteristics I mean those traits which exclusively belong to one dialect and are not found in any other dialects. For instance, use of the palatal sibilant alone is an exclusive characteristic of Magadhi. In distinguishing one Prakrit dialect from the other, we may state a few essential characteristics of different dialects; and all of them together characterise a particular dialect.

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xlii KAMSAVAHO Our author uses ahake (ii. 6) which is noted as a speciality of Magadhi dialect by Vararuci, and there are about half a dozen words like kalana (i. 14, 51), kumala (iii. 29), galula (iv. 28), calana (iii. 34, 50), muhala (ii. 57) in which r is changed to I. It is true that kalana and kumala are not popular in dialects other than Magadhi ;39 but words like calana can occur in any other Prakrit dialect. In the absence of the Nom. Sing. of a-ending nouns in e and of the wholesale change of r to I and of s and s to s, we cannot say that the dialect of our text is Magadhi. A word like ahake should be considered either as an intruder or a slip of the author. A good deal has been written about Sauraseni, its characteristics and its relation with Maharastri.40 The use of Sauraseni is prominent among the Prakrit dialects used in the prose of the dramas. But the Ms. material from which we have to generalise the nature of Sauraseni is extremely unsatisfactory and the grammars are not quite exhaustive and they sometimes differ mutually. "In spite of all these difficulties" says PISCHEL, "it is however possible to get on the whole a fairly correct picture of S. In phonology the most characteristic feature is the change of ta into da and tha into dha (SS 203); in declension and conjugation the great variety of forms of 39 I am usually guided by the forms noted by PISCHEL. 40 PISCHEL: Grammatik etc. SSSS 2, 12-15, 22 etc.; KoNow and LANMAN: Karpuramanjari, the section of Rajasekhara's Prakrit, pp. 199 etc.; R. SCHMIDT Elementarbuch der Sauraseni, Hannover 1924 M. GHOSH Maharastri, a later phase of Sauraseni in the Journal of the Department of Letters, Vol. XXIII, Calcutta 1933; A. M. GHATAGE: Sauraseni Prakrit, the Journal of the University of Bombay, vol. III, part vi; S. K. CHATTERJI: The Study of New Indo-Aryan in the Journal of the Department of Letters, vol. XXIX, Calcutta 1936; A. M. GHATAGE: Maharastri Language and Literature, the Journal of the University of Bombay, vol. IV, part vi; etc.

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INTRODUCTION xliii M. AMg. JM. Js. has been greatly simplified. Thus in the case of a-stems only the abl. sing. in -do and the loc. sing. in -e are in use ; in plural, in the case of all the stems, only the forms nasalised at the end are used in instr., gen. as well as in loc. ; the i- and u-sters have in gen. sing. only -no, not -ssa as well ; in verbal flexion the Atmanep, has almost completely disappeared ; the opt. has only the endings -eam (I. sing.), -e; many verbs have stem-forms different from M.; the fut. is formed only from stems in -i, and the passive only in -ia, the absol., in contrast to M., almost exclusively in -ia Skt. -ya, etc." By way of explanation and supplementation it may be added that in sauraseni -di in the Present and -du in the Imperative are the 3rd p. sing. terminations which being -i and u respectively in Maharastri, that d and dh are retained, and sometimes nt is changed to nd and ry to yy. With the above description of Sauraseni in mind, if we look at our text, we find that there are many cases of t changing into d (adi ii, 20, adihi ii. 50, cada i. 60, tado i. 24, dava iii. 49, parahada i. 11, vamada i. 18 etc.) though this tendency is not uniformly carried out. In our text th is changed to h and not to dh. Some illustrations of abl. sing. in -do or -ado are found (lambhado i. 12, karado ii. 7, surado iii. 8, also matthaeadu iii. 15), besides we have those in -i and -hi (gotava i. 19, maihi i. 7 etc.). Loc. sing. in -e as well as in -mmi are found in our text (samujjale i. 30, jaammi i. 13, rahammi i. 23, vasuhammi ii. 52, vihummi i. 10 etc). Nasalisation is unknown to our author, but whenever a long vowel is metrically needed anusvara is added to the pl. terminations of the Instr., Gen. and Loc. The gen. sing. termination for the i- and u-stems is not only - no but -ssa as well, though the latter is excluded by PISCHEL in Sauraseni (bamdhuno i. 10, Tassino i. 11, bahussa i. 21, Harissa i. 41 etc.). We have many forms of the Atmanepada (jampae, paacchae i. 9). We come across Optative forms in

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xliv KAMSAVAHO -jja (bhanejja i. 14). As against PISCHEL's expectation we come across Passive in -iji (kahijjae i. 15) and Absol. in -una and so also in -ia (gamiuna i. 34, parivedhiuna i. 53 hakkaria i. 23, samoannia i. 35 etc.). The 3rd p. sing. termination of the Present is i throughout and never di ; there are only two cases of the softening of t in the 3rd p. sing. of the Imperative (ii. 6, 7). In this text ry is changed to jj and in one case nt. is changed to nd (sujjakanda iii. 14). The above scrutiny does not warrant us to conclude that the dialect of our text is Sauraseni ; but this much is to be admitted that it is sprinkled here and there with what are called Sauraseni characteristics. 42 It is already remarked above that our author closely follows Vararuci's grammar and his dialect fundamentally agrees with the one discussed in the first nine chapters of Prakyta. prakasa. Hemacandra and others who are indebted to Vararuci call the main dialect by the name Prakrit. . The 12th chapter of PrakTta-prakasa mentions Maharastri, but the text, as it is available, shows certain inconsistencies ; so the genuineness of the 12th chapter can be called into question. Other grammarians like Markandeya start with Maharastri as the basic dialect, and according to their view Vararuci's Prakrit can be called Maharastri. Exception is taken to this view, and it is claimed that the Prakrit of Vararuci belongs to Indian Midland, and therefore it should be called Sauraseri ; 12 and this agrees well with the references to Sauraseni in the 10th and 11th chapters. Admitting that it was once the dialect of the Indian Midland, we may still call it Maharastri following 41 Being a late work the text of Kansavaho is not likely to be subjected to many changes at the hands of generations of copyists. The study of the dialect leaves the impression that our author did not discriminate one dialect from the other as rigorously as the modern scholars like WEBER, KONOW and others. 42 See the Papers of Drs. CHATTERJI and GHOSH noted above.

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INTRODUCTION xlv the lead of various grammarians. If it is once admitted that we are dealing with literary dialects, it is more safe to follow the terminology of the grammarians without always insisting on the territorial bias unless they show mutual contradictions and inconsistencies of an extraordinary character. Later grammarians have understood that the Prakrit of Vararuci is Maha. rastri ; and, as Rama Panivada is following the nine chapters of Praksta-prakasa, he is writing in Maharastri which is purely a literary language with no special territorial association at the time when he wrote this work. Turning to the characteristics of Maharastri, as noted by grammarians and as gathered from the study of Maharastri literature, we find that intervocalic consonants k, g, c, j, t, d, P, y and v are usually dropped ; and aspirates like kh, gh, th, dh, ph and bh are changed to h. These are general rules ; Mss. do show irregularities, and modern scholars want these rules to be applied rigorously as it is clear from the editions of Sattasaz, Kappuramamjari etc. Grammarians allow even in Maharastni the change of t to d in a few words ; 43 and nowa-days it is held by some scholars 44 that the change of t to d is not prohibited in Maharastri. Rama Panivada usually drops intervocalic consonants k, g, c, j, p, y and v. His exceptions --are either sanctioned by grammarians or very rare. His treatment of t is very uncertain : he may drop it or soften it as seen from the same words occurring in different places : (aggao i. 3 & aggado i. 5, gao i. 51 & gada ii. 11, laa iv. 25 & lada i. 54, haa i. 36 & hada iii. 51, etc.). As to d, it is sometimes dropped and sometimes retained (vimaa i. 30, saz i. 2, savai i. 61 ; jamnadi i. 16, pada i. 8, paduma iii. 2; maa iii. 60 & mada iv. 43; etc.). The most significant Maharastri trait of our author's dialect is the termination i ore in the 3rd p. sing. 43 PISCHEL : Grammatik $ 204. 44 See the articles of Prof. A. M. GHATAGE noted above.

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xlvi KAMSAVAHO of the Present and u in that of the Imperative. There are only two cases of the termination du in the Imperative, and I should call them exceptional occurrences. It may be noted that even a rigorous editor like WEBER retains the termination -du once in his text of Sattasai (verse 878) which is written in Maharastri. About the changes of r there is no uniformity: it is changT ed to a, i or u; and sometimes the same word shows two different forms (maa i. 50 & mia ii. 20). As to ks it is usually changed to kkh, but in a few words to cch. So far as the root preks is concerned, both pekkha and peccha are available (ii. 11, iv. 11). The other Maharastri characteristics found in our author's dialect are the usual change of aspirates to h; the change of ry to jj; the Abl. sing. in -a, the Loc. sing. in -mmi; the Passive in -ijj; the Future in -hi- ; and the Gerund in -una. In literary languages vocabulary is not a reliable criterion to distinguish one dialect from the other; and therefore I have not scrutinised words like latthi which are restricted by certain grammarians for specific dialects. Taking into account the essential characteristics of Saurasexi and Maharastri, I might state, in conclusion, that the Prakrit dialect of Kamsavaho should be called Maharastri; and as the author belongs to the decadent period of Prakrit literature and as he is thoroughly acquainted with the prose of the dramas, he shows some of the traits of Sauraseni as well. VI) In the Notes I have given the metrical analysis of every chapter at the close of it; and I have also added there the matra-scheme and the author's definitions of different Vrttas. Rama Panivada has composed a treatise on classical metres, so I have mainly adopted his terminology; and just in a few cases I have noted the variant names : METRES IN KAMSAVAHO.

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INTRODUCTION xlvii Avitatha, see Kataka. Indravajra (1): iv. 12. Upajati (12) : iv. 1, 2, 6, 8, 9, 11, 13-8. Upendravajra (7): iv. 3-5, 7, 10, 19, 20. Kataka (1): ii. 60. Drutavilambita (1): iv. 37. Psthvi (3): iii. 57, iv. 27, 40. Praharsini (56) : iii. 1-56. Manjubhasini (3): iv. 28, 43, 48*2 (Sanskrit). Mandakranta (1): iv. 33. Malabharini, see Vasantamalika. Malini (3): i. 61-2, iv. 48. Rathoddhata (1): iv. 29. Vasantatilaka (7): iv. 21, 22, 34, 36, 42, 45, 48*1. Vasantamalika (60): i. 63, ii. 1-57, iv. 24, 32. Vamsastha (60): i. 1-60. Salini (2): iv. 30-1. Sikharini (1): i. 64. Sardulavikridita (6) : ii. 58, iii. 58, iv. 23, 26, 46, 47. Sragdhara (5) : ii. 59, iv. 35, 39, 41, 44. Svagata (3): iii. 59, iv. 25, 38. Harini (1): iii. 60. If frequency is a good indication, Varsastha, Vasantamalika and Praharsini are the favourite metres of Rama Panivada. Compared with the extent of the work, it has to be admitted that our author has used a greater variety of metres. On the whole the verses are metrically flawless, and there is only one case of Yati-bhanga (ii. 4, cd). VII) STYLE OF KANSAVAHO. Rama Panivada has been brought up in the traditions of classical Sanskrit the tendencies of which are consequently deep

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xlviii KAMSAVAHO rooted in him. He shows a thorough mastery over the vocabulary which almost flows forth to serve his purpose. . His language is simple in presenting the conversation and the narration, but it grows pretty difficult in descriptive portions especially due to the lengthy compounds. If the Prakrit language of the author becomes artificial now and then, the fault is due more to the age in which and the circumstances under which the work was composed than to any specific deficiency in the scholarship of our author. In many places we see his masterly grip over the language which 'vividly expresses the actions to be described. His style, though not very graceful, is full of vigour; it inclines more towards elaboration than suggestion ; and sometimes the sound appears to dominate over the sense. It is clear from the metrical analysis that our author has used a large number of metres in this work. The Gatha, the Prakrit metre par excellence, is conspicuous by its absence. On the whole the verses fiow with a vigour and dignity. Rama Parivada's mastery over the language is seen also in some of his verbal devices. Identical syllables are repeated at the close of contiguous Padas with the effect that we get a sonorous sound in reading these verses. In some verses the same syllable recurs so often that the reading of the verse adds to our pleasure. As in some of the Dravidian languages, our author shows the second syllable identical in all the Padas; and in some places we have the Yamaka of identical syllables with different meaning. Prakrit language affords a special facility in this regard since one and the same Prakrit word may stand for different Sanskrit words : in a few cases our author has availed himself of this advantage. Attention has been drawn to many of these cases in the Notes Some of the scenes sketched by Rama Panivada in the section of the bards' songs or in the description of Mathura

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INTRODUCTION xlix are worthy of a genuine poet. These descriptions a:c spiced with poetic embellishments like Upama, Utpreksa, Rupaka, Drstanta etc. ; and we come across a few happy illustrations of Arthantaranyasa. Most of them are mentioned in the Notes on different verses. Among the Sanskrit authors of note, Rama Panivada can be favourably compared with Magha whose influence he betrays in many places. We miss here the outstanding Utpreksas and the natural scenes of the country-side seen in Gaudavaho ; nor do we get here the pedantic descriptions full of unwieldy compounds exhibited in Ravanavaho. Antiquity may be an advantage but is not a virtue by itself ; nor is modernity a fault which should be allowed to obscure the genuine merits of a poet. Taking into consideration the able delineation of the subject, the successful handling of the language and the well-deccrated presentation of poetry seen in Karsavaho, it can be said that Rama Panivada deserves a respectable seat in the gallery of his predecessors like Pravarasena, Vakpati Rajasekhara and Gunacandra. 5. THE CHAYA AND ITS AUTHORSHIP As already noted above, both the Mss. give the Sanskrit rendering or the Chaya of the Prakrit text. It is practically identical in both the Mss. : there is a single case where the two Mss. differ with a corresponding difference in the Prakrit text (i. 38). There are a few variants on the common Prakrit text. So far as the tenses of the verbal forms are concerned, the Chaya is not literal ; and in fact the forms of the Present are substituted by those of the Imperfect and Perfect. Who is the author of this Chaya is a question for the solution of

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KAMSAVAHO which ne definite clue is available from the Mss. However some circumstantial evidence may be noted here : Kamsavaho belongs to an age and country in which Prakrit texts almost necessarily required a Chaya ; the Sanskrit Chaya in the Ms. is so closely associated with the text that it has not got independent colophons, those in the square brackets being added by the editor ; both the Mss. give the same Chaya, and as yet no Ms. of Kansavaho without the Chaya has come to light; the Chaya takes some liberty with the verbal forms of the text ; in some cases (i. 50) the metre is maintained even in the Sanskrit rendering ; and lastly Rama Panivada himself has written a Chaya for the Prakrit portions of his dramas like Sitaraghavanataka etc.45 Taking into account all these points, I am inclined to believe, of course tentatively, that Rama Panivada himself might have added this Chaya to make his work intelligible even to those who did not possess the first-hand knowledge of Prakrit.46 45 A Triennial Catalogue of Mss., vol. VI-part 1. Sanskrit, Madras 1935, p. 7042, No. 5135 b. 46 A portion of this Introduction was read before the Prakrit Section of the Tenth All-India Oriental Conference, Tirupati, 1940.

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rAma-pANivAa-kao kaMsavaho

Page #53

Page #54
[ paDhamo saggo'] sirIa NAho sihi-piMcha-seharo sinniddh-goviinnannNclNcioN| saraM jasoA-taNaattaNaM gao vihU vihUsAvai~ gova-cADi // 1 kahaM khu se kaMsavahaM suhAvahaM suI va gaNheha vale muhiiannaa| . saA gurUNaM calaNe samallio bhaNAmi jaM bhatti-guNeNa nnollio||2 ahekadA caMkamiro vaaMgaNe diNaMta-go-dohaNa cAvuDaMgaNe / sahaggao so 'hisaraMtamaggao gadaggao dakkhai gadiNI-suaM // 3 raAi rehA-raha-saMkha-paMkaa aMkidAI pulaUNa bhUale / tahiM NamaMtaM pulaAli-pamhalappamoa-bAhola-vihulla-viggahaM // 4 1M begins thus: zrIrastu // kaMsavadham // , r begins thus: zrIrAmapANivAdaviracitaM kaMsavadhakAvyam. 2 MT seharaM. 3 MT laMci. 4 taNayattaNaM 5M vigUsA (vibhUsA ?). 6 T samichao. 7 T rama. 8T boholla

Page #55
- kaMsavaho khaNe khaNe jhANa-NimIliyukkhaNaM NamaMta-moli-ppaNivesiaMjali / asaMbhamaM saMbharamANamaggadoM lasaMtamappANamaNaMta-koDDaaM // 5 adiTTha-pAsahia-vatthu-satya asubamANuccaliucca-NissaNaM / paraM parabbamha-suhANubhAviNaM" Na bAhiraM bAhai kiM pi dehiNaM // 6 khaNaM ruvaMtaM vihasaMtamaMtarA khaNaM ca khaMbhaM va NirUsaha tthiaN| khaNaM caraMtaM khaNamucca-jaMpiaM khaNaM pi tuNhikka-muhaM mAhi va // 7 pamoa-tUraMta-pada-kamuccala khlNt-mottaa-gunn-phenn-mNddlo| sari-ppavAhaM via saMmuhAga sa paJcuvaTThAi NamaJcuaMbuhI // 8 karaMbueNaM parigaNhiUNa NaM gharaM Ni pAvai devii-suo| aNAmaaM pucchai miha-bhoaNaM paacchae kiM pi a jaMpaeM puNo // 9 1MT NimIlimakkhaNaM. 2 M saMbhamaraMtamaggado.3 M -mANa calica. 4 TvaraM. 5 // sukhANu'. 6 jaMbhiaM. 7 . kamuccalavikalaMta, kamucalaMkhIlaM. 8 M jappae.

Page #56
-paDhamo saggo tuhAvaloeNa bhuvIa me maNaM visaTTamakkUra siNiddha-baMdhuNo / aho kimaccheramiNaM samuggae vihummi sajjo viasei keravaM // 10 muNAmi teeNa khu bhoa-rAiNo diNa-ppadIvA viva tikkha-rassiNo / palijjamANeNa parAhada-ppahA kahaM pi tumhe baliNo vijIvaha // 11 avacca-jugge ciraimakkhaMde vi de sahaMti jaM jo pidarA NitaNaM / sarIriNo tA duravaca-laMbhado vadaMti saMJcaM NiravaccadA varaM // 12 kahaM pariccemu sarIra-posae ime vi mAdA-pidare va vacchale / jaammi je koila-rIi-gAmiNo Na de juucchaMti kahaM mahAaNA // 13 kaaM khu jaM vA kahideNa bhUriNA kiNo bhaNejjAama-kAlaNaM bhavaM / idaM vadaMto viramei mAhavo bhaNaMti bhavvA hi jAM midakkharaM // 14 1 . ksiTTa-. 24 vihunvi, T vihumma. 3 T raMsiNo. 4 MT iramakkhade. manaM 6 T juhucchaMti. 7 M -Ayama. 8 MT aNA. 5

Page #57
- kaMsavaho vimuddha-sIlega viNamma moliNA sa kaMsa-dUraNa kahijjae harI / tuha bva sAhiTTha-jahiTTha-daMsaNaM visiTTamamhAamaNa-ppaoaNaM / / 15 Niratya-saMgA NiamaMta-paMthao jamAdi-joabbhasaNubbhaDa-ssamA / cirai viiNNaMti tavohaNA vi jaM sa diTThie~ majjha si dihi-goaro // 16 jiaM jiaM me NaaNehi jehi de sujAa suMdara-guNaka-maMdiraM / pasaNNa-puNNAmaa-moha-sacchahaM muhaM pahAsujalamajja pijjae // 17 Nisijjhae mAhava mAuleNa de vibhamANeNa va paavraasinnaa| imassa paccakkha-NirikkhaNasavo muharsa jaM vA vihi-vAmadA khu sA // 18 mamammi tuTuM vihiNA Nu saMpavaM mahaM maha cce Nu puNNa-saMbhavo / jamajja teNa cia bhoa-rAiNAM visajjio haM tui kajja-goravA / / 19 1M patyA. 2 MT iraM. 3 // didi, T diTia. 4 T muhussa. 5M mamaJcena 6 M mogarAiNo.

Page #58
- paDhamo samgo suNAhi tAseNa saA samAulo jamIhae mAhava de sa mAulo' / sa vaMciuM vaMchai taM pi saMpaaM jaassa jo desi khu kaM pi saMpaaM // 20 palaMba-bAhussa vahassa jassa de palaMba-kesi-ppamuhA Na paariaa| tamappaNA saMpai saMpamadiuM tama-ppahANo sa hi saNNahei hi // 21 dharAhiNAho dhaNuhUsava-cchalA khalo tiloIvaI hiMsiuM tumaM / samaM samAraMbhaI kuMbhi-rAiA samaM ca mallehi sa maMcamAThioM // 22 rahammi hakAria rAa-paMsaNo bhaNIa maM kiM pi sa taM pi suvvau / amaMdamakUra) vacca goulaM bhaNehi bAle vi a rAma-kesave // 23 caatthi bhoAhiva-bAhu-pAlie sarAsa-jaNNo mahurA-mahAghare / tamikkhiuM vo jai ki pi koduaM tado samAacchaha pecchahUsavaM // 24 1 M mAdulo. 2 M hI. 3 T omits the 4th line. 4 tiloipai. 5T samaraMbhai. 6 T rAeNa. 7 Fourth line defective in r.8T.. vaMssaNo. 9 T akkarama.

Page #59
- kaMsavaho sa gaMdagovo vi.sa-mitta-baMdhavo javA samAvaccau majjha maMdiraM / atucchao tujjhaNa vikkhaNAaro maha tti teNa cia svvmiiriaN||25 imassa kajjassa sarIramerisaM jahiM khu pANAai vippalaMbhaNaM / Na vacca vA NaMda vacca vA tuvaM vihI-Niseho vi Na dUa-kattao // 26 pavaTTae cAvamahaM ti koduaM NivaTTae vaMcaNa-sAhaNaM ti taM / duhA vale bhAdara bhAva-baMdhaNaM maha tti taM jaMpai rohiNI-suo / / 27 idaM vao bhaNNai vaNNamAliNA alaM kavittheNe palaMba-mUaNa / akaja-sajjANa hi sattu-saMbhavo kudo bhaaMkajja-pahummuhANa No // 28 aha ephuDaM kAhii sAhasaM jai kkharaM sa jAhii pAaDo jaNoM / samiddhamaggi gasiuM samuTTio Na Dajjhae ki salahANa saMcao // 29 1 kuvityeNa. 2 MT aNo.

Page #60
- paDhamo saggo - - visuddha - sIle vima-cchala-kamo Na ko vi amhe chiviDaM paabbhai / hammi tArA - Niare samujjale NisaMdhaAro mahalei kiM bhaNa // 30 bhua-paAvo bhua-dappasAliNo rivraNa majjhe ci saMpaAsai / hiraNa - reassa vi jAla-saMcao saaM samidherai kimiMdhaNaM viNA / / 31 vaaM vaesagga-sarA NirAulA sa-sika-bhaMDA saaDAhirohiNI / samuccalAmo saalA vi saMpaaM sahAjio hojja sa bhoa-bhUvaI / / 32 iAlavaMtI saha sIra - pANiNA rahaM samAroha devaI -suo / karagga-saMvagga-paggaho javA sa tassa paDimmi a gaMdiNI -suo / / 33 suhaM rahammi citra hammiovame / saaM saaMto gamiUNa jAmiNeiM / page samaM sammilidehi mAhavo i saNaMda - gova-muhehi pahio || 34 1 M viNaa. 2 M bhujappaAvo. 3 M samiddhei. 4 M vayaM. 5 M paggavo. &T omits two lines. 9

Page #61
10 - kaMsavaho - aho samAaNNaa kaNNa- dUsahaM pavAsa vattaM padaesa - uNo / galuggalaMtassu-jalukkhadakkharaM vioa bhIA vilavaMti goviA / / 35 amuddhadamma va saMbhu-matthaeM akotthuhammaoad vihu- vacchae / aNaMdara NaMda - gharammi kA sirI huA haA haMta vaaM vaaMgaNA / / 36 aNaNa NAhA avihA vihAa Ne ghiNaM viNA jhatti gae vidAluNe / tarhi jaNe laggai saMpaaM pi jaM tamammakANaM khu maNaM viNidiaM // 37 kimettha amhe kuNimo guNuttare " jaNe piNaddhaM juvaINa mANasaM / Na tIrae cAru-pasUNa- sorahe mahIruhe bhiMgaulaM ca kaDDiuM // 38 pahANa-pANANi khuNo jaNaddaNo sa jeNa dUraM gamio durappaNA / kaaMta-duo cia so samAgao Na kaMsa-dUo ti muNeha goviA / / 39 1 T dussaaM ( dussahaM ? ). 2 T matthake. 3 T No. 5 guNaMtare, T guNattare. 4 M kimammakAo

Page #62
-paDhamo samgo imAhi kUro Na paro ti se kA avssmkuura-sh-pkiyaa| aghora-saI jaha ghora-muttiNo sivassa vakkhAi taha tti maNNimo // 40 harissa rUvaM cia saMbhareha ho harimmaNI-sAmala-komala-ppahaM / siNiddha-kesaMcia-mora-piMchiaM visaTTa-kaMdo-visAla-loaNaM // 41 phuraMta daMtujjala-kaMti-caMdimAsamagga-suMdera-muheMdu-maMDalaM / visuddha-mottA-guNa-kotthuha-ppahApalitta-vacchaM phuDa-vaccha-laMchaNaM // 42 bhuaNg-bhoaakii-cNg-bhNgappaam-somaal-bhuaa-laNciaN| maNi-ppahAiNNa-suvaNNa-mehalAvilaMbi-pIaMbara-soNi-maMDalaM // 43 Naha-ppahAliddha-NahappahAmalappavAla-taMbujjala-pAa-paMkaaM / maNojja-hAsolla-kaDakkha-vikkhaNa kkhaNa-kkhuhijjaMta caaMgaNaMga // 44 1M paMchiaM. 2 T huraMta. 3 T maMsalaM. 4 4 motAgaNa, T mottAuNa. 5 7 bhomAkai. 6 T pyavAha.7 // khuvijjaMta. 8 ' vasaMgaNaMgaNaM.

Page #63
- kaMsavaho NiaMbiNIo nniuloll-pllvppbddh-pllNk-pmdd-nniddaN| Na vimharijje NavaM NavaM karaM jaNadaNeNaM jauNADa-kIlaNaM // 45 jahiMdu sA jillua-phulla-maMjarI nnmNt-cuNtgg-bhmNt-chppaa| muANuvajaMta-suUDha-jaMpiA taDaMta-vANIra-laA khu sakkhiNI // 46 mauMda-veNUara-Nita-baMdhurassaNAmaAsAa-virUDha-pallavA / davumha-sukkA vi vaNaMta-pAavA jahiM khu gimhAavamAvuNaMti nno|| 47 vaNANilA jattha kliNd-nnNdinniitrNg-sNpkk-sinniddh-siialaa| kuNaMti NoM paMkaa-paMsu-maMsalA samAurANaM talavUDa-kAriaM // 48 bhuvaMti govaDaNa-sela-mehalAvilaMbiuggajjiya-vijjulA~ ghaNA / imANa No mANa-viNoaNummuhA jahiM jaicchAgaa-pIDhamaddaA // 49 1 . vicchurijjeu. 2 T jaNAgha. 3 4 jahaM. 4 . uNaMti. 5MNe. 6 // kAriNaM. 7 T vijalA.

Page #64
-paDhamo samo . jahiM ca buMdAvaNameka maMdiraM mANi-ppadIvo maa-laMchaNo s| NavA a sejjA taru-pallavAvalI vasaMta-pupphAi a bhUsaNAi No // 50 gao sa kAlo gaa-gAmiNI-aNA maNorahANaM kuNimo tilNjliN| suhassa savvassa vi mUla-kAlaNaM jaNo gao jaM jaNa-loaNaMjaNo // 51 kaA Nu kaNhassa kavola-gholirapphuDa-ppahA-maMDala kuMDalujjalaM / su-pika-biMbI-phala-pADalAharaM muhuttoM pecchihimo muhNbuaN||52 kaA Nu piinn-tthnn-gaaddh-piiddnnaamlijjmaannujjl-cnnnn-maaliaN| imehiM dohiM pariveDhiUNa se visAlamAliMgihimo bhuaMtaraM / / 53 asaMka-saMkea-ladA-gharoarahiassa magga-ppahiekkhaNassa se / javeNa gaMtUNa jahiTTha-ceTThiaM kaA Nu vA pAihimo 'harAma // 54 1 . kuMDalajjaI. 2 M muhuttahaM.

Page #65
14 - kaMsavaho - ia - palAvaM pia - vippavAsaappaAma- soAuramaMgaNA - aNaM / muuMda - cAAu sa gaMdiNI-suo samAgao jaMpai kiM pi sAaraM / / 55 ahIramAhIra - NiaMbiNI -aNA muhA tumhe vilaveha vIhalaM / kahaM Nu vo muMbaI caMcalekkhaNA svaNaM pi so tumha vasaMvao harI // 56 vijimha- tumhabhumaA-kuaMDaappamutta- caMcala-bANa-kIlio / kahaM khu so kaMpai saMpai kkhaNaM sahejja kajjAhimuhassa sAhasaM // 57 usammi saMmajjai sAarammi jo sa sAamummajjai kiM Na caMdamo / alaM visAeNa vilAsiNINa vo gaassa paccAamaNaM Na dullahaM // 58 samatya -loassa paAsa- heduNo tamappavaMcassa NirAsaAriNoM / 1 a muddA tu.

Page #66
- paDhamo saggo - paDippa ANaM paDivAlaeha se saroiNIo va sahassa - rassiNo / / 59 vioa - soumhala- gimha-tAviaM vastthio-satthaa-cAdaI-ulaM / vaaMbu dhArAhi su-sIalAhi so suhAvae mAhava dUa-vArio / / 60 aha diaha-viAsa-ppakkame pAruhaMto savai hari-saNAhaM saMdaNaM gaMdiNeo / Naya-paduma-rAI- roaNijjaM jaNANaM lahas suhamahikkhaM kaM pi so kassavI va / / 61 java - jia -pavaNeNaM vaccamANo raheNaM saha pasuva - varehiM gAhae mAhavo so / kasaNa-giri - sihAlI-tulla-kallola-mAlAphiDia -taDa- tamAlaM sUra - kaNNAu velaM // 62 jaDaNa- salilammi buDamANo paDibiMbaM va tahiM pi vAsudevaM / pulaUNa bhuvIa vimhaaMto pulaubbhiNNa-taNU sa gaMdio / / 63 1 MT vaLatthiA. 2 T NaaNa. 3 M viDia 4 M juDaNA. 15

Page #67
16 - kaMsavaho - taraMto taM to so taruNa-maNa-saMtosa-mahuro sa- buMdehiM sAhaM visaI mahuraM NAma NaaraM / af vIhIgAhI kuNas vaNiANaM samahiaM samAnaMda caMdo vitra kumuiNINaM mahumaho / / 64 ia rAma- pANivAa - kae kaMsavahe paDhamo saggo / [ bIo saggo ] aha mAliaM - diNNa-mAla-bhArI vaNamAlI musalI a vaccamANaM / paridhoa-varilla bhaMDavAha raaaM kaM pi NiaMti rAmagge / / 1 mau-hAsa-maNoharANaNehiM kumarehiM vasaNAi jAido so / kumaNo ghaNa- gavva duvviNIo kuvido bhAi bhoarAa-bhicco // 2 1 M visaa. 2 T mAlima. 3 M bhaMNavAhaM.

Page #68
-bIo saggo Na hu saMbhari pi sakae jaM tamiNaM jaMpaha DiMbhaA kimevvaM / NaNu khAdai tajjio vi jo so chivio kiM Na kuNei kaNhabhoI // 3 NavaraM Na lahissai tti NeaM vasaNaM bhoavaissa jaccamANaM / NamiNaM cia tumha sIsa-cheassa vi ho hossai kAlaNaM muNeha // 4 abhaNijja-cauggameNa jammA aNuhoti phuDamappaNo viNAsaM / cavalaM lahiUNa pakkhavAliM salahA kiM Na maraMti havyavAhe // 5 aha hodu sahemi ekavAraM ahake tujjhaNa bAla-cAvalAI / Na sahejja NarAhivo imAI jai so socchii vacchalijja-caMjho // 6 ia so kaDu bhAsiUNa jAhe pahasaMto cia voli pvutto| sahasA mahu-mUaNeNa tAhe vasaNAI hariAi se karAdo // 7 1T pakkhavAlI, M pakkhavAhi.2 T ahahe.

Page #69
- kaMsavaho ahihodu-maNassa koha-bhArA rahasuhAvia-laTThi-pANiNo se| aha takkhaNa-Nakkha-koDi-ruggaM paripADei siraM sirIa NAho / / 8 Nia-paMka-visohaNAvadAo raaassabmahi lhuu-bhvNto| paviseI saippAsamappA vasaNANaM Niaro a vAsudevaM // 9 siaehi siehi se sarIraM vasiehiM lasae tamAla-NIlaM / kaNaujjala-mehalAhirAmaM sasi-mohehi va NIla-sela-siMgaM // 10 aha pekkhai vaMkadaM gadAe taNu-lahIa vi dihi-ramma-rUvaM / maaNassa va so kuaMDa-lahiM vaNiaM kaM pi samuNNamaMta-piTuM // 11 aNusappira-chapparaM vahaMti maNi-pattaM bhida-kuMkumaM karagge / saNi saNi samAvaDaMti samuvAgacchia pucchae harI NaM // 12 . 4 1T so. 2 . parisei. 3 // daTTi. 4 pIThaM, T vaTThI. 5 M samAvasatiM.

Page #70
-bIo samgo kuDilacchi vale kudo si bAle kuDilI-hoi kahaM tuhaM sarIraM / masiNaM ghusiNaM ca kassa dAu~ saNi gacchasi pecchaNijja-rUve // 13 aha jaMpai sA vihissa sattI bali jiMbhai vAmiA mamassi / hiaammi pasiddhamithiANaM maha gatte vi kuNIa vaMkadaM jA // 14 suNa suMdara sippaAriA hai NivaraMteura-vAsiNI viNIA / ghusiNaM puNa kaMsa-rAiNo se paNidAuM palAmi taNNiedaM // 15 muumAramiNaM ca de sarIraM surahI kuMkuma-paMkao a eso| parigaNhaDa tA bhavaM cieaM sarisANaM hi samAamo suhassa // 16 ia tappaviiNNa-kuMkumAhipphusiaMgA vilasaMti knnh-raamaa| sa-pasUNa-kalA a siMduvArA viva sNjhaaav-sNchivijjmaannaa||17 1T dAI.2 // saraI. 3 sa samApramo.

Page #71
20 - kaMsavaho - cibue kara- pallaveNa kaNho saNiaM gaNhia sArasekkhaNaM taM / aha khujjiamujjuI kuNIa 'phuDa- lajjAvaliANaNeMdu - biMbaM // 18 paDhamaM' kuDilA vi caMdalehA jaha saMpuNNadamei puNNimAaM / taha sA sahasA bhuvIa puNNA kamaNI - komala-kaMti- komuIhiM / / 19 adibhUmimuvAgaaM miacchI maaNAallua-sallamuvvahaMtI / NamiUNa bhaNAi NaMdasRNaM dhua-lajjA - Nialehi akkharehiM / / 20 imiNAm jio sarIra-sohAvihaveNa tti tumaMsa rUDha-vero / tuma aNukaMpi tti dANiM kimu maM vAhai vammaho mahappaM // 21 visa - rukkha paNaehi maNNe visame visi shuNA kuNAi / uhi kimaNNA maNaM me imiNA ujjhai Nijjae a mucchaM / / 22 MT paDamaM. 2 M imiNammi.

Page #72
- bIo saggo avasaM savasaM pi mAra- ghorajjara- dumaMta-maNaM maNojja-mutti / aNugaNha mi kaNhasAra-sAracchavi-sAMrehi kaDakkha - vikkhaNehiM // 23 hariNIla- siNiddha-muddha-sohe tuha saMkaMtamuramma ramma rUvaM / kasaNAala-dhAu-rAa - kappaM ' thaNa- uMbhehi luhAmi kuMkumaM NaM // 24 aha vAharaI mha vAsudevo sumahaMtaM tuha subbhu sAhasikaM / iha jAi mae vivakkhidAI haridAI tai tAi akkharAI || 25 viasaMta-muhAraviMda-Nitai-* bbhamarAlAva-chalAhilAsa - vAaM / paDivAlai kiM Nu malliakkho liNi kiM dusarei diTThamattaM / / 26 maha mANiNi kajja - goraveNa paravaMtassa Na tubbha kuMbha-thore / pariraMbhiumosaro uroe savaso a khamo hi kAma taMte / / 27 1 Defective line in T. 2 M uMpherhi. 3 T lahAmi 4 M vAsarai. 5 MT Nitta. 21

Page #73
- kaMsavaho ahamehimi dAva bhUva-sevANialAdo maha jAva hoja mokkho| Na hi keraviNiM chiveumIso ghaNa-ruddha-ppasarI sa caMdamo vi // 28 aha No hiaecchiAi pacchA sasi-joNhupphusiAsu jAmiNIsuM / suaNANa sahAsu sakavINaM vaaNAI va pahaMtu kIliAI // 29 ia taM pia-daMsaNaM bhaNaMto mudiraM cea visajjiUNa knnho| saaNehi sahaggao gao so saNi to visae a rAahANi // 30 mhnnijj-mhujjlNg-lcchiivihvaaloa-vihull-kouhllaa|| padisaMti pihajaNA ci maggaM tahi se kaM Na haraMti puNNabhAA // 31 maNi-dIva-sihA-palijjamANaM kaNaa-kkhaMbha-vilagga-hAra-guMphaM / mahisakkhaa-dhUva-gaMdha-gabbhaM mahu-cerI visae kuaMDa-sAlaM // 32 1kIlaAI, T kIliAhiM. 2 M kouhallo. 3 M kuaMDavAlaM.

Page #74
-bIo saggo mahiaM bahu-gaMdha-mallaehiM dhaNuhaM gaNhia pANi-pallavehiM / sahasa' cia sajjiaM kuNaMto sa samAkaDDai muTTi-pIDiaMNaM // 33 . aI bAlaa rAa-pUidaM NaM dhaNuhaM mA chiva mA chivetti jAhe / vaaNAi suaMti' kiMkarANaM khuDiaM taM mahu-mUaNeNa tAhe // 34 thaNi kimiNaM kudo paoo Nara-siMgha-ddhaNi Nu taM NivuttaM / ivitya-saeNa duttha-citto dhaNu-bhaMga-ddhaNiNA bhuvIa kaMso // 35 aha rakkhi -bhaDe parakamaMte parusehiM vaaNehi akkhivaMte / pamalaMti parosa-viDDirillA dhaNu-khaMDehi raNammi rAma-kaNhoM / / 36 mihirammi via ppaAsamANe vaNamAlimmi maNAi sajjaNANaM / kamalAi va hoti phullaAI kumuAI va kuaMti dujaNANaM // 37 1M sahasu. 2 T ayi. 3 T mA cchiva mA cchivetti. 4 T suvaMti. 5 // sUhageNa. 6 M NaraNIha ( sIha ? ). 7 M ayavitya, T aapittha. 8 M Defective reading.9 M rAmakaNho. ___

Page #75
24 - kaMsavaho - aha cAva-gharAhi NikamaMto saha rAmeNa sa devii-tnnuuo| juvaI-NayaNehi pijjamANo viarei pphuDamaMkarNa-sthalIaM // 38 samuvaDia bhoa-rAahANi sarasaM taM pulaUNa rAahANiM / bhaNae saNi maNohirAmaM sa hi vAAhi sa-vityarAhi rAmaM // 39 uva No bhuvaNa-ppaNAidAe mahurAe mahurattaNaM purIe / maNi-hammia-pAli-moli-kuMbhakkhalaNovAhia-sura-saMdaNAe // 40 iamuNNamiucce keu-hatthappaalijjaMta-paDAiaMgulIhi / sa-vihUi-lahUidaM sa-gavvA NaariM tajjai kiM Nu NijjarANaM // 41 kaNaAala-soha-soha-siMgatthala-kIlaMta-puraMgaNaccharohA~ / / parihaNNava-majjha-vaTTiNI saamolaMbai jaMbudIva-lacchi // 42 1 pa NaaNehiM. 2 : pphudu. 3 T vityadAhi. 4 T iyamu.. 5M omits soha. 6 M cchalohA. 7 T vaTTaNIaM.

Page #76
- bIo saggo - phalihovala - kuTTima-paeso hariNIlAlaa - rassi missido 'yaM / iha saMpa saMbharAva No jauNuggaNhia jaNhavI pavAhaM // 43 kasaNIvala-keli-pavvaANaM tama- sAmAhi ruIhi NiNhuA' / ahe va saraMta vIhiAaM vidduAsaMkamihAhisAriAo // 44 iha kaMcana - geha - kaMti-litte gaaNe bAla - diNesa - moha-mohA | vihaDera Na digviAsu digghaM aNIaM pi rahaMgaNAma - juggaM // 45 iha vappa - maNi- pahA - kaDappA gaaNaM maMDala - sohiNI lihatA / raNo sasiNo a kaMci kAlaM parivesa - "pahamujjalaM kuNaMti / / 46 valahI - valaesu gourANaM viharatANa vilAsiNIaNANaM / musiNA muheMdu se a-biMducchala-mottAphalaAi sagga-vAoM // 47 1 M NihuAsaM. 2M vIhiAI. 3 T valahiM. 4 T vAvo. 25

Page #77
-kaMsavaho iha caMda-maNI-gharoaresuM samaraM caMda-muhIhi saMvisaMtA / Na lahaMti rai-ssasaM juvANA tava-rattIsu vi NAma tAmasIsuM // 48 iamuNNamiucca-soha-sIsA pavisaddehi gavakkha-loaNehiM / / radaNAara-mahalA-kalAvaM kuduullI pulai vva bhUa-dhattiM // 49 adihINa kuNaMti pajja-kajaM paalaMta-ppasavAsavodaehiM / iha NikkhuDa-vADa-bAla-rukkhA suha-pahi ca ravehi koilANaM // 50 sara-sIara-vAhiNo samIrA sarasAmoa-harA saroruhANaM / mihuNANa rai-ssamaM same sai sajaMti Namettha vittharaMtaM // 51 iha koccaNa picchilammi NicubbhaDa-dogghaTTa-kaDAvaDojjharehiM / lagiA vasuhammi daMti bhiMgA Na Nihelovala-kuhima-bhamaM kiM / / 52 1M pavisaMdehi. 2 // valaaMta. 3 ra sarasAmoda. 4 r Defective reading.

Page #78
-bIo samgo 7 ANiaMtaNa-jaMta-magga-NitaddhaNiugdhosira-cAri-dhoraNIhiM / iha koccaNa Nicca-siccamANe Nilae Nacai paJcaha' maUroM // 53 iha subai NivvahaMta-tAlaephuDa-saMgIa-NaDaMgahAra-iMdhaM / gahiro ghaNa-gajiANurUvo mahuro kocci maiMga-tuMga-NAo // 54 suNa punvaa-suMdarIaNANaM mahu-goTThIsu maANusaMga-saMdaM / laliaMkalaaMTha-kaMTha-NAappaDimaM kocaNa NacaNammi gIaM // 55 parado murNa thANiilla-bhAvA vihalaM paccaa-lakkhaNassa suttaM / sahalaM tamalallaammi kajje ia vayyA~araNArNa vAa-ghosaM // 56 sa-salAha-siloa-pAehiM muhalaM kocaNa baMdi-buMdarehiM / iNamammauraM cirai pi diTuM Na hu dihri parado NivaTTaei / / 57 1 . paMcamaM. 2 M mayUro. 3 T sugu. 4 T suNu. 5 bhAA. 6 va AaraNANa, T vAma 7NT pAThaehiM. 8 MT ire.

Page #79
28 - kaMsavaho gaMdhavyA Na kimettha saMti Na hu kiM vijaMti vijjAharA kiM vA cAru Na cAraNANa a ku~laM jiNaMti No kiNnnraa| kiM Ne sumaNANa dhAma kimaho NAho mahiMdI Na se saggo cea vasUNa ThANamiNamo rammaM mudhammujjalaM // 58 kiilo-selgg-lgg-sthnnia-ghnn-ghnnussitttth-vihi-ppnnaaliijhNkaarukNtth-mor-pphudd-nnddnn-hlbbol-dippNt-kaamaa| vAmA vAmA vi pINa-sthaNa-kaNaa-ghaDe saMgharDaUNa gADhaM kaMThe gaNhaMti kuMThearamiha pihu-rAollirA vallahA NaM // 59 ia bahu-vitthaAi visaANa bahuttaNado saamaha go-saAimuvasaMhariUNa muhaM / vasahimuvAsarei vasudeva-suo sa jaA tai khu divAaro vi caramAale-poli-bhuvaM / / 60 ia kaMsavahe bIo sggo| [tIo saggo] paccUse pr-mnn-sll-mll-jujjhpptthaav-ppddhm-pvutt-sutthaaro| pADhatto paDaha-ravo paboha-velaM volaMti bhaNai va baMdi-buMdarANaM // 1 1 MT ulaM. 5T varamAmala. 2 M cea. 3 M killA. 4 // kuMThearamiva, T kaMThearamiha.

Page #80
- tIo saggo - - bujjhaMtI' buha paDihA va kavva-baMdhe bajjhatI bahala - rasehi akkharehiM / pAsutaM paduma-viloaNaM pabohaM pAve kamai kameNa baMdi-pAlI || 2 kallANaM kamala-sirI - kaDakkha-vikkhAvikkheva-ppaaDula- caMcalIa - mAlaM / kallANaM kuNaDe purassarassa tujjhaM kallaM NaM suha suha-pavoha - hedu || 3 hossaMtiM tuha muha- lacchimacchi-sohAvicchAI kaa - Nia-cinha-kahimANaM / pecchato paDhamamimo tuha ppabohA NikkhaMto Nihua gaI NisAu NAho // 4 jAo de jau-sua Netta-tAraAo NissesaM jaNamaNugahihiMti bohe | tAhiMto lahu idarAu tAraAo vIlA dhuvamuva hoMti NippahAo / / 5 johAaM tuhiNaarassa rukkha - chAApacchaNNA. kaha viThiA khu aMdhaArA / ullAse tuha muhaaMda-caMdimAe~ saMkaMtA Nia- khaamehimosarate || 6 1 T bunjhatiM . 2 M kuNai. 3 M kalANaM. 4 I suhaaM. 5 M pecchate. 6 T NisAha. 7M caMdabhAe. 29

Page #81
-kaMsavaho tUraMto viraha-visaraNA-visohaM rAhAe suhaa tuvaM va bhaannumNto| mIlaMtaM muha-kamalaM saroiNIe saMpatto pariphusiu~ karaMcalehiM // 7 bImaMtA vimaa-bhaDA jahA tuitto murAdo suirmudeumummuhaado| aNNAa-pphiDiau-pasaNNaA-duallA NillINA kuhai muuMda caMda-mohA // 8 jhINAaM vihaDaNa-kAlaNe NisAaM cakkAA Nia-caNiAhi saMghaDaMti / saMtAaM via Nia-pAva-saMtadIaM saMtA de sa-aluNa-vikkhaNa-cchaDAhiM // 9 bhiMgAli pulaia paMkaANa gabbhe saMbhaMtaM dara-vivudANa saMbharAmo / ubboha-kama-viasaMta-dIharacchIdacchaMta-ppasaramae kaNINi de // 10 saMbhiNNa-ppahamiNamIsi caMdimAe baMdhUAruNamaruNassa rassi-jAlaM / mottAlI-su-visaa-daMta-kaMti-siTuM diDhi No harai tuva vivaahrohuuN||11 1 // saMpatte. 2. paripusiuM. 5T mottAli, 6M didI. 3 M aNNAhicchiDima. 4 miMgAlI.

Page #82
- tIo samgo Aliddho diahavaissa pADalehiM mohehiM maragaa-kuTTimo vihAi / govINaM.ghaNa-kua-kuMbha-kuMkumehiM saMketo tuhamiva kaNha vaccha-bhAo // 12 ummillAvai kamalAaro Na jAhe sacchaMdaM muulamaAi loaNAI / uNNido Nia-NaaNuppalAi tAhe phullAI kuNasu tuvaM pi vAsudeva // 13 AvijjhA ravi-kiraNehi sujja-kaMdA umhANaM vamiumamI uvakamaMti / No khuddau avi hi sahati aNNa-ovicchar3e kimua tumArisA mahaMtA // 14 tikkhaMsu-pphuDa-hari-Nakkha-vikkhadAdo vikkhoha-ppavaDia-rikkha-mottiAdo / aMdhAra-tthira-kari-patthaAdu saMjhArAo 'aM vialai soNia-ppavAho // 15 NidANaM kumuiNimujjhiUNa sajjo bujhaMti kamaliNimalliei bhiMgo / paccUho Na hi bahu-vallahassa kociM tujjha vva ppaDiNava-kIlaNUsavesuM / / 16 ummANaM. 3 M No vakhuddA. 4 M vikkhaNAdo, T vikkhadodo. 1 M rai. 2 killaNUsavesu. 5

Page #83
- kaMsavaho AaMbo kuNai diNesa-rAsi-rAsI jiMtINaM pia-casahIu baMdhaINaM / thoresuM thaNa-alasesu vallahorappammaTuM ghusiNa-rasaM puNo va littaM // 17 kiMcemo jalahi-jalammi saMmilaMto saMdAi pphuDa-valaAmuhaggi-saMkaM / ammelAvaI puNa hatthi-matthaeK siMdara-ppaara-pisAMgamANameso / / 18 sacchaMdaM churau Nihela-sAmale de vacchammi kkhuDia-pavAla-khaMDa-soho / sohaggaM lahiumimo khu suja-moho tallacchI-ghaNa-thaNa-kuMkumaMkaNassa // 19 puvvAsA-juvai-sava-ppavAla-bhUsAtADaMkaM gaaNa-saro-sahassa-pattaM / pAINAala-maNi-soha-moli kuMbhaM peccheNaM diNaara-biMbamujjihANaM // 20 evvaM siM thui-vaaNuggamAhi puvvaM palaMkaM muai jaNadaNo vinnido| ummesaM lahai puro saroa-vADo pacchA NaM pasarai rAahaMsa-NAo / / 21 1 M aMmolAvai. 2 T ummesuM.

Page #84
- tIo saggo - paccUse' cia Nia-saccha-gatta-lacchIvicchaDDu-cchivia-viappahAvaAso / paccakkho bhuvai raI pAa-sevA-' tappajja -pavaNa-maNANa so jaNANaM / / 22 saMjhaM to viaa -javA-pasUNa- taMba taMbullAruNa-vaNiAharoTTha-sohaM / rAhAe~ muha-vihu-saMbharAvaaM so vaMdeto calai purI - duvAra - hutto // 23 pAlea-cchai-taNuNo balassa pacchA vaccaMto paaDula-hAra- cAru-vaccho / kaNho so bahu vilasei vijjulillo caMdassa vviva Nava - NIla-vArivAho / / 24 soeNaM bahu-diahe samAurAe vAmacchI phurai ta sa mAurAe / kaMsAdINa a kuhaNA-samallaANaM sattUrNa paidi-hadAsa -mallaANaM // 255 sohagga-dvia - NaaraMgaNA-kaDakkhacchAAlI-masiNa-masAra - maMDiAe / arry viviha-vilAsa-vesa-lacchIbhAsaMtAM saNiamaaMti rAma kahA~ || 26 33 1 M paJcasa. 2 M pAvasevA. 3 I rAhAhe, T rAjAe. 4 M seeNaM. 5 Wanting in r. 6 r bhAsato. 7 T rAmakaNho. 3

Page #85
24 - kaMsavaho - aMTTho Naravai - sAsaNA duvAre duvvAra-ppasara-paAvamIsaraM taM / saMbhe para kuMbhiNA sa-pANicchatteNaM via bhaavaMtamuNha-mohaM // / 27 AmelaM kuvalaa - puvvamuvvarAaM kIlataM via saama bhamra NAhaM / kujjhataM kulisa kaDhore-daMta-DaMDa kuMbhidaM kuDila-maNo polae so // 28 mattuM kiM jama-ghara ma vAraNassa paJcakakhaM NivaDaha matta vAraNassa / aNNatto 'vasaraha umA kumAlA jhatti ti palavaha hatthivo sa-gavvaM / / 29 aNNatto jai Na Niattaesi NAaM sajjIvI vasihi tA khaNaM pi NAaM / itthaM to bhaNi harI sahaggaammAM pADhattA paribhuviDaM NamuggaammI || 30 uvvaMta-kkhuDia - kaDaMbu - NijjharolaM majjhammi pavaDia - siMkharAM-bhuaMgaM / dogha Nia-bhu-kaDriaM muuMdI bhAto viharai maMdaraM va puvvaM // 31 1 MT kaThora. 2. M paghaDaa-siMgharA. 3 T bhuja.

Page #86
- tIo saggo kujjhaMta gaamaha kuMDalI kaAe suMDAe kaa-parivaTha-mUDha-helaM / bhaMsaMto bhamara-karaMbiammi gaMDe caMDAhiM paharai so carvaDiAhiM // 32 kIlAe lagai harI mahimmi jAlA nAlA so DasaNa-jueNa vAraNiMdo / vijhaMto mahialametya buDDamANaM kaDdeuM tamiNamaho Na sakurNai // 33 kuMbhaM to kuvia-maNo khaNaddha-AlaM volaMto calaNa-aleNa vAmaeNaM / ukkhAi kkhuDia-paDhilla-mUla-baMdhaM kaNho se kara-jualeNa daMta-juggaM // 34 jAhe so NivaDai vajja-rugga-pakkhappakkhitto kasaNa-girIva NAa-rAo / tAha khu ppaalai sesa-sIsa-akkappabmaTuM via valaaM vasuMdharAe // 35 aMbaTu-ppahada-paheNa kaccira so hatthido sarai sa ti ciNtaNto| aMbaTuM gamai dhuvaM taANi durlDa hatthida-ppahada-paheNa vAsudevo // 36 1 // bolato. 2 TNAvarAo. 3 // kaccira.

Page #87
- kaMsavaho gehaM tA gahiraarumha-somma-sIlA gAhaMtA gaaNa-alaM va pupphvNtaa| kesiM ci ppaharisa-phulladaM kuNaMte kesi ci ppamauladaM ca rAma-kaNhA // 37 gholaMtujjalavaNa-mAla-hAri-vacche kIlaMte karivara-daMta-pANiNo de| pecchaMtA jaha-suhamacchi-jamma-kajjaM sacchaMdaM savai lahaMti savva-loA // 38 veraM je hiaa-ThiaM vahaMti tANaM vattAI mailadamAi haoNti tAhe / rukkhANaM sai Nia-koDara-ppaDiTTho pupphAI dava-dahaNo hi vAaeI // 39 AdiTThA Navari a duNNaeNa raNNA raNNehA via rahaseNa siNgh-podeN| jeuM de jau kumare kaa-ppaDiNNA saNNaddhA samAhisarati malla-johA // 40 maMcamga-dvia-Nia-bhattu-diTTi-viTThIsiMcaMtA via ma-pllvullsNtaa| cANUro saamaha~ muDio a beNNi ppoNNiddA NihilamavaMti malla-seNaM // 41 1NT pAiladaM. 2 pANiNe. 3M pacchaMtA. 4M puSphANaM. 5 . evAaei, Tha pAbaei. 6 7 behu~.75 samamama. 8 1 seNNaM.

Page #88
-tIo sammo cANo kaihavaM-sUaNaM saraMto sADovaM bhaNai vale vaesa-sUNa / icchaMto Nivasai tujjha jujjha-kIlApaMDicaM pulaiumesa bhoa-raao|| 42 bhUvAlo cia kusalo kuaMDa-satye govAlo cia NiuNo Niujjha-taMte / jo jassi kuNai parissamaM paAmaM so tassi cia viNijio vihAi // 43 mallehiM saha maha-vikkamehi pADipphaddhIaM kaha kira hojja dukkharA de| bAleNa ccia tumae palaMba-kesippAA kiM Na hu NihaA daicca-cIrA // 44 tA jujhaM kuNaha duve vi NAma tumhe dhammeNa citra khu duvehi mallaehiM / amhANaM muNau saraM kuUhalillo / bhoeso bhua-vivammi tAratammaM // 45 evaM se suNia vaAi suppasaNNo saNNaddho samahighaDei NeNa knnho| kuppaMto kulisa-vighaTTa-NiTTharAhiM muTThIhiM musalaharo vi muTThieNa // 46 1 M kaiDava. 2 T bhoarAvo. 3 kusale.4 ammANaM.

Page #89
38 - kasavahA bibbAla-pparusa-parapphara-ppalAvaM gheppaMta-pphiDia-paDaMta-bAhu-jaMtaM / apphAla-pphuDa-kaDu-sada-viDDirillaM khubbhaMta-ttihuvaNamAsi tANa jujhaM // 47 kaDatA kara-jualeNa jANu-jaMghA .. sNghtttt-kkhuddia-vilitt-rtt-gttaa| uddAma-bhamaNa-dhuNaMta-bhUmi-akA vikaMtiM vivihamimA samAraMhati // 48 kaTThe ho kaDhiNa-maNo' paNollae ko sadale sasa-simuehi saMpahaMtuM / / gacchAmA visamamiNaM Na paMcchaNijjaM . jujhaM ti ppalavai dAva sAhu-loo // 49 cANUraM calaNa-juammi gaNhamANo kaNho NaM khivai taDitti dhatti-caDhe / jaMDo se taha kira muTThiraM ca duTuM diTuMtaM samuvagaA duve vi mallA / / 50 jujhaMtA kadi vi hadA gadaggaeNaM vibbhaMtA kadi vi palAidA khu mallA / mattaMDe phuDaaramuggae gahA vi ppammaTThA~ kahi uNa joiriMgiNohA // 51 1 M dhippola., T cippola. 2 M samAharaMti, T samAraNaMti. 3 // kaThina, T kaThiNa. 4 saMpahattuM. 5 / visa[ma]mimaM. 6 // zrIbhaMtA. 7 / ppamuTThA. ___

Page #90
- tIo saggo - vajhaMtu paidi- kaDU baDU balAdo vajhaMtu sahamimA vi gova-saMghA / muccatA muNaha viNAsihiMti jimhA tumme ti ppalavara dAva bho-rAoM // 52 3 vibhANaM visamahiaM sahAva-vaka kaMsaM taM kasaNa-bhuaMgamaM va ghoraM / pakkhido via viNaatti-bhaMjaNo so maMcagga-DiamahisaMpaDe kaNho || 53 uTTaMto kara jua- lagga - khagga-cammo jAhe NaM pahariumA rahei kaMsI / maMcAdo mahu-mahaNI haTeNaM' tAhe bhU-vaTThe paDiamamuM khaNA kuNAi || 54 vacchammi pavaDia khippamatthivasthi vitthiNNa-tthaNa- aDa- caMdaNollie se / kaNho so kuNai tahA gahIda - kharago bhUvo so bhuvaI jahA kahAvasesI / / 55 kaDUMto gala-paha - Nita-rata-sitaM gataM se galala-dhao gaANukaMpaM / sera so lahai tahiM khu vera-saMtiM dhIrANaM pi hi hiaaM dhuNAI koho / / 56 1 T viNassiviti, 2 bhoarAvo. 3 // vakaM. 4 MT haTheNa, 5 T bhuvau 6 M dhuNAhi, T suNAi. 39

Page #91
40 - kaMsavaho - siNiddha-ghaNa- kuMtala -pphuria-mora- piMchaMcie sirIa paTTaNo sire sura-karaMcalummucio | bhamaMta-bhamarAvalI-kalaalehi vAAliA sura-hu-kusuma-cchaDA paDai dAva devAlaA || 57 NacaMti phuDamaccharA Naha-pahe secchaM miho maccharA divvA duMduhiNo dhaNaMti gahiraM saggANiluggUriauM / puNNA bhiNNa-kaDAvaDojjhara - disA - dogghaTTa-thaTubbhaGappapphujjaMta- pamoa - baMhia - mahA-ghosehi vIsaMbharA // 58 aTTha dAva Nivarassa kaNiTThA NiDuragRhasiAdi gariTThA / duTTha-ruTTha- maNaso vi paviTThA viTTharassava - haA sura- goTThi // 59 ia sabhua-saMbhAra - "phAra-ppaAvamaAavekkhaviavimaaMdhAro vIro visuddha - guNuttaro / buha-aNa-maNaMbhoavvAaM NiAma-viassaraM kuNai kusalAloo loe muuMda - divAro / / 60 iaM kaMsavahe tIo saggo / 1 muMciaM. 2 T secchA. 3 Tdeg lulUriA. 4 T subhua. 5M maAmaa T vikassaraM. 7 | ia rAma-pANivAakae.

Page #92
-cauttho saggo * . [cauttho saggo] tado a bhoesa-bhua-ppaAvagimhomha-bhAreNa pddjhaimaannN'| kaNhaMbuvAho khu kaDakkha-lacchIdhArAhi siMcAvai jIvaloaM // 1 dhaMsaM gae kaMsa-Nive jaNANaM maNAi gauhe. psaaa-lcchii| pariccue pAusa-vArivAhe saroa-buMdAi va haMsa-rAI / / 2 pavitta-cAritta-vilova-saMkAvivajjiAo kul-vaaliaao| . taA paAsaM pasaraMti seraM sasi-ppahAo va tamujjhiAo // 3 juvANa rAmAhimaNaMtarAaM vihttu-kaamaannmnnNt-raaaN| karei tAvaM sarasA vi sAraM virAmailli tti NisA visaaaN||4 viDhatta-ratta-ppaNaA vivaMkA visaTTa-kaMdoTTa-pahA viddesuN| viaGka-NArINa vilAsa-diTThI paDei No patthiva-khagga-laTThI / / 5 1 MT paDhajamANaM. 2 M gahe. 3 MT vAhei. 4 M pAliAo. 5 MNe.

Page #93
42 - kaMsavaho - kAUNa bhoaMdhaa-cakkavaTThi paANa rakkhittaramuggaseNaM / moei mAA-pidare tado so kArAgharAdo' kamalA-sahAo / / 6 sahaggao NaM samuvAsaraMto siNeha - bAhocchaDaacchi - panhe | kuNI dIhaM kumaro paNAmaM sa- NAma saMgahi vihi- vIro / / 7 digghAuNo hoha cirassa vacchA tumhe ti bAha- kkhaliakkharAhiM / AsIhi vaDDAvaI devaIe samaM khu so ANaduMduhI NaM // 8 ekkaissa saccha-'phailia-paAsaM ' aNNassa bhiNNaMjaNa-maMjulAhaM / marlijjamANujjalaM vaNNa-mAlaM vacchaM samAliMgai tANa tAdo // / 9 tado samAgaccha gaMdiNeo kaa-paNAmo kama sohidAI' | kahANubaddhAi kumAraANaM Ai saMjapaI maMjulAi // 10 1 M karAvarAdo. 2 T yamalA. 3 T saMgacchima 4 M digghAyuNo. 5 M akkharohiM, T akkharAhI. 6 M vajjhAvai 7 M No. 8 MT ekassa. 9 M saccappaDia, T sacchahalia. 10 MT maNijja. 11 M kamasohidAlaM, 1 kamaNoidAI. 12 M saMjappara.

Page #94
-ca utyo saggo aaM khu go jassa Nihela-NIlaM vacchatthaluggholira-vaNNamAlaM / caumbhuaM viggahamaggabhAe jAassa NaM paMcchaha pecchaNijaM // 11 " ghettarNa jaM samhara-ratti-majjhe tujhaM taraMtassa trNgillii| kUlaMta-colaMta-jalA vi tAhe jaMghANa laMghIa kaliMda-aNNA // 12 tappammi jaM ThAvia goviAe pacANiA sori tue suA se / kajANurohA garuattaNaM No muNaMti mullassa hi vikkaeK // 13 imo khu so ceathaNa-ppadAe thaNeNe pAMdaNa vi puudnnaae| taNhA-paDIghAamalaMbhamANo pANe vi jo dullalio piviia|| 14 eso khu so NaMda-gharesaeNa jiNA tinnaavt-dicc-viiro| kao 'bhuvaMto vi sa cakkavAo kaaMta-bhUmI-sara-cakavAo // 15 1 . pecchasapecchaNijjaM. 2 4 ghottUNa, T ghorUNa. 3 T sammara. 4T kholaMta, 5 TthaNNeNa. 6 M taNAvatta. .

Page #95
44 - kaMsavaho - sattUna savvaM musiNAuM gavvaM kudo khu baMdhUNa vi vallavANaM / ia tthuoM' jo kira gavva-coro pahAsa - sIlehi surehi so s // 16 jo a mAA-paNibajjhamANaM jaNaM vimuMcAvara baMdhaNAdo / so a mAAu mahANubhAvo ulUhale bajjhai so khu eso // 17 bhaggo Nameko ci bhaggaveNa purajjuNo sori sahassa - bAhU | NaM sahassAhia - dIha-sAhAbAhUNa bhaggaM juamajjuNANaM / / 18 paAraaMtaM Nia-go - saAI parAve kira saMpavRtto / baAsuro NaM khu saaM paNaTTho tAmissa - saMgho va sahassa - mohaM // 19 saussa rUveNa saaM saaMto pavaDDieNaM jaDhareM-TThieNaM / ahAsuro NeNa hRdo hadAsAM sa gumma - ropaNa va kamma- doso || 20 1 jaNo. 6 jaThara, T jaTharA. musigAI. 2 T iatthuvo. 3 T so NaM. 4 ciJa. 5 5 purajjuNe, T pura

Page #96
- cautyo samgo mAAMbaleNamimamabbhaamumbhameuM jo pakamei sa sa citra vaMcio se / mAaMbuhimmi gahire paDio viriMco patto Nameva saraNaM kavaladdhapANiM // 21 buMdAvaNammi jauNA-puliNammi ramme govaNadi-siharammi ahammiAhe / govAla-bAla-kula-lAlia-kIliAI NeNaM bahUi diahAi khu voliAI // 22 NeNaM gheNua-gadaha-ppahudiNo vaggassa duggabiraM ce cea baleNa tAla-viviNa-vvAeNa dhRaM blaa| pIoNibbharatapphalaMbu-chalado loANa soAamo santu-ppANa-misA TuM sAhu puhavI-bhAro smuddhaario||23 parirakkhiumaMga gheNuaMtaM paaraMto vihaNAsi gheNuaM kiM / kaha vIsasimI tumaM ti rAmaM pahasaMto kira vAharei kaNho // 24 kAliAhi-visa-dhUma-laAhiM kAliAhi gaaNaM va karAlaM / jAuNaMbu viraei visuddhaM jAu gaMda-taNao sarao va // 25 1 mAyA. 2 saraNiM. 3 a immimAe. 4 . hu. 5M mAdhaNa 6 gatuM.

Page #97
- kaMsavaho pAtto' phaNirAa-pavvaa-phaNA-siMgesu pAe samaM sigdhaM NikkhiviUNa Naciumimo paccUsa-sujjIvamI / AaMbAava-soha-pIa-casaNo sANaMda-buMdAraasseNI-Netta-saroa-roaNa-guNuddAmo khu dAmoarI // 26 jhaNajjhaNia-NeuraM calaNa-pallavANolaNANamaMta-phaNi-matthaaM km-pddhill-kNcii-laN| calaMta-sihi-piMchiA-calaa-ramma-dhammillabbhamaMta-bhamara-cchaDaM NaDai bAla-govAlao / / 27 galulAhi se galia-gavva-sAliNo abhaaM puNo disai esa bhAiNI / rusiA visaM jai vi sAhuNA jaNAM amaaM khu de taha vi NAma tosiA // 28 NAa-jovvaa-samappiehi to NAa-hAra-Niarahi bhuusio| esa bhAi hari-NIla-sAmalo tAraehi va suho Nahovaho // 29 muppatesuM gova-go-buMdaresuM dippaMto to NippaDaMto dvggii| sajjo jeNaM pijjae vijjulAho savvAvAo hoi louttarANaM // 30 1M pADato, T pADhAto. 2 MT dhammallaa. 3 MT aNA. 4 T Niharehi,

Page #98
-cautyo saggo V9 govAaMto goulaM kAmavAlo govAaMtaM kaMsa-bhiccaM daicaM / AkaMkhaMtaM vippalaMbhaM palaMba ruTTho durdu muTThiNA piTThavaMto // 31 jauNA-salile kaA vi jAo jubaIo kila kIlaNaM kuNaMti / hiaAi va NimmalAi tANaM vasaNAI musiNAi vAsudevo // 32 raNe jaNNe kuhai mahie bhoaNaM jAidehiM bhUdevehiM kira paDiNirAcakkhio dikkhiehiM / bhattAhitI sarasa-mahuraM sAraM cAvi tANaM bhajjAhiMto lahai tamimI muttimasiM ca dei / / 33 eso khu NaMda-pahuMdissa puraMdarAdo bhattiM Nivattia karei giriMda-huttaM / AaDDiUNa diaho kumuAarAdI bhiMgassa didvimiva paMkaa-vADa-huttaM // 34 sajjo gajjaMta-vijujjala-jalaa-ghaDA-gabbha-pabbhAra-thorappanbhaTThe paTTaviTThabhi-bhuvaNa-alaM viTTimabbhAvaDaMtiM / govAlo esa govaDDaNamaalavaraM takkhaNaM ukkhaNaMto chattaM kAUNa ghettUNa akara-amale DiMbhao ruMbhae NaM // 35 1 vAsudeo. 2 M puraMdarAo. 3 T phaTTaviTuMmia.

Page #99
4 - kaMsavaho NivvANa-gavva-sihi-pavyoM-veri-juTuM tuTuM sa Nhua-paohara-NissidehiM / eaM paohi surahI ahisiMcamANI goviMda-NAma su-siliTThaaraM karei // 36 aha khu NaM cia kaMcaNa-kuMbhiAvialiehi kilabbhamu-vallaho / suraNaI-salilehi NisiMcae pamudiro mudiro via sArao // 37 jAu dAva jauNoM-jala-maggaM vAruNeNa hariaM puriseNaM / accuo baa paeda-NiedA paccuvAharai NaMdamamaMdaM // 38 joNhA-vicchaDDa-paccupphusia-sasimaNI-saMda-NIsaMda-sIe buMdAraNNe kaliMda-ppia-duhiu-mahA-tUhe-rohatthalIsuM / velA-selANilAlolia-sarasa-rasAlagga-laggAlivagge kAle saMte vasaMte kuNai ghaNamimo kesavo rAsa-kIlaM // 39 uvaTTia-tarahiAvali -siliTTha-goTTI-gao pavaMcia-vivaMciA-murali-siMga-siMgAriaM / viDaMbia-viDakarma vimala-maMju-saMjaMpiaM taraMgia-suraMgaNaM kuNai bAlao khelaNaM // 40 1M NivAra. 2 M pavvara. 3 M salile. 4 T tAva javuNA. 5 MT mahArUha 6 . rAsalIlaM. 7 M uvaTThidavirahiA.

Page #100
- cautyo samgo 4 rAsa-kIlAsu vIlA-viala-vaa-cahU-Netta kaMdoha-mAlApAlaMbAlaMkidaMgo mau-hasia-suhA-sitta-catteMdu-biMbo / saMgAaMto NaDato sarasaaramimo saMcaraMto saaMto sabbAsuM dikkhu dakkhijjaisaala-aNANaMdaNo NaMdaNo de||41 sohagga-ganvira-maNANa NibiNINaM patto tahA bahu-taNU vi parokkha-bhAvaM / eso tama-ppaidiANa Na dakkhaNijjo sujjo va vitthaa-paho vi vihAvarINaM // 42 virade made virahiNINa tANa to paaDei viggahamimo kumaaro| pasamaM gaammi sisirammi takkhaNaM kusumaM pAsai hi cUda-pAdavo // 43 saMkhohI saMkhaUDo vi sa vusaha-taNU kiM cariho gariTThA viTTho ruTuMNa kesI via turaa-cavU dhaMsio kesaveNaM / vAmAraMbhI sa vomo vi khu parikhuDio sori veri-dumANaM dAvaggI gaMdaNI de kimiha hi bahuNA saMpaaMjaMpieNaM // 44 ANAio dhaNuha-jaNNa-chaleNa eso kaMseNa teNa dhuvamatta-NibaMhaNatthaM / sAhagga-saMgharisa-saMghaDio hi vahI suNNI-karei tarasa cia kiM Na rukkhaM // 45 1 T sopha [ bha ? ] gga. 2 M kesavo NaM. 3 T ruSvA [ kkhA ?].

Page #101
- kaMsavaho akkUrANaNa-sippi-gabbha-galiaM taM sutti-muttAvaliM gaNheUNa kuNaMti haMta pidarA kaNNANa de maMDaNaM / accArUDha-hirI daroNaa-siro-NaMcaMta-piMchaMcalaM gADhaM kiM ca parissarjati bahuso mAaggaraM saggaraM // 46 pAleAala-moli-gholira-mahA-kallola-hallohala'phAruDDAmara-cAru-cAraNa-dhuNI-sacchAhi vacchA cireN| tumhe jIvaha puNNimAmaa-maUhuNNidda-joNhA-jharIpaMDicca-cchiura-cchaIhi mahiA kittIhi dhattIale // 47 ia mudia-maNANaM tANamAsIhi tAhe sara-samaa-sirIhiM caMda-sUrA va muraa| samahiamahirAmaM rAma-kaNhA pasaNNA saala-jaNa-maNojaM laMbhiA kaM pi lacchi // 48 ia rAma-pANivAa-kae~ kaMsavahe cautyo sggo| devvAha-pAaDa-pao-Nilae gahIre bolANa vAhiumiNaM khu muNeha rUhaM / NavvaM hi kacamiha kaMsavahAbhihANaM sabbe vi bhavya maMdiNo parisIlae~ha // 481 14 hiraM, T raM. 2 T tumme. 3 T omits kae. 4 x ends here and has the phrase HTAVE app which is put later. \ T alone gives this verse and the subsequent portion. 6T vAlaNNa, 7T bhAvamabhiNo. 8T parisIlaseha,

Page #102
- cauttho saggo siri-guru-pAANaM Namo / suhamatthu / samattamiNaM kavvaM / ' kamalAsahAya kamalAsanAdibhiH zamalApanodamabhilASakaiH suraiH| samupAsyamAnacaraNAmbuja prabho kamalAlayeza paripAlayAzu mAm // 48*2 S T omits this phrase which is given by M above, T alone gives this verse. 3 kamalAsAdimiH.

Page #103

Page #104
kaMsavadhakAvyasyAjJAtapraNetRkA saMskRtacchAyA [prathamaH sargaH] [1 sirIa NAho]-zriyo nAthaH zikhipiJchazekharaH snigdhagopInayanAJcalAJcitaiH, svayaM yazodAtanayatvaM gato vibhuyaMbhUSayadgopavATikAm // 1 // [2 kahaM khu]-kathAM khalvasya kaMsavadhaM sukhAvahAM sudhAmiva gRhNIta vale sudhIjanAH, sadA gurUNAM caraNau samAzrito bhaNAmi yAM bhaktiguNena nunnaH // 2 // [3 ahekadA]-athaikadA cakramaNazIlo vrajAGgaNe dinAntagodohanavyApRtAGgane, sahAgrajaH so'bhisarantamagrato gadAgrajo'drAkSIdgAndinIsutam // 3 // [4 raAi ]--rajAMsi rekhArathazaGkhapaGkajadhvajAGkitAni pravilokye bhUtale, tasminnamantaM pulakAlipakSmUlapramodabASpAviphullavigraham // 4 // [5 khaNe khaNe]--kSaNe kSaNe dhyAnanimIlitekSaNaM namyamAnamaulipraNivezitAJjalim, asaMbhramaM saMsmarantamagrato lasantamAtmAnamanantakautukam // 5 // 1 M zekharaM. 2 // degJcitam. 3 [vibhuvibhUSayati gopadeg ] 4 T kathaM. 5 T kaMsavadhaH. 6 T sudhAvahA. 7 T vrajAGkaNe. 8 [ pazyati ( drakSyati ) gAndinIdeg ]. 9 T pralokya. 10 T namantaH. 11 vigrahaH.

Page #105
-saMskRtacchAyA [6 adiTTha-pAsahia ]-adRSTapArthasthitavastusArthamazrUyamANocalitocanisvanam , varaM parabrahmasukhAnubhAvinaM na bAhyaM bAdhate kimapi dehinam // 6 // 7 khaNaM ruvaMtaM ]-kSaNaM ruvantaM vihasantamantarA kSaNaM ca stambhamiva nirucchrasaMsthitam , kSaNaM carantaM kSaNamuccajalpitaM kSaNamapi ca tUSNIkamukhaM madAdiva / / 7 // [8 pamoa-turaMta:-pramodatvayamANapadakramoccalaskhalanmuktAguNaphenamaNDalaH, saritpravAhamiva sammukhAgataM sa pratyupAtiSThad enamacyutAmbudhiH // 8 // [9 karaMbueNaM ]-karAmbujena' parigRhyenaM gRhaM nijaM prApayardai devakIsutaH, anAmayam apRcchanmRSTaMbhojanaM prAyacchat kimapi cAjalpat punaH // 9 // [10 tuhAvaloeNa ]-tavAvalokena babhUva me mano vikasitamakrUra snigdhabandhoH, atho kimAzcaryamidaM samudgate vidhau sadyo vikasati kairavam // 10 // [11 muNAmi teeNa]-jAnAmi tejasA khalu bhojarAjasya dinapradIpA iva tIkSNarazmeH, pradIpyamAnena parAhataprabhAH kathamapi yUyaM balino vijIvatha // 11 // 1 rudantaM. 2 [ pratyupatiSThate ]. 3 [ prApayati ]. 4 [ pRcchati mRSTa ] 5 [ prayacchati ]. 6 [ ca jalpati ]. 7 T balinopi.

Page #106
-prathamaH sargaH 55 [ 12 avacca - jugge ] - - apatyayugme ciramakSate'pi tau sahate yannaH pitarau niyantraNAm, zarIriNastasmAddurapatyalAbhato' vadanti satyaM nirapatyatA varam // 12 // - [ 13 kahaM paricchemu ] --- kathaM parityajAni zarIrapoSakAvimAvapi mAtApitarau vA vatsalo, jagati ye kokilarItigAmino na tAn jugupsante kathaM mahAjanAH // 13 // [ 14 kathaM khu jaM ] - kRtaM khalu yadvA kathitena bhUriNA kiNoM bhaNedAgamakAraNaM bhavAn idaM vadan virarAma mAdhavo bhaNanti bhavyA hi janA mitAkSaram // 14 // [ 15 visuddha - sIleNa ] - vizuddhazIlena vinamramaulinA sa kaMsadUtena akathyataM hariH, tavaiva sAdhiSThayatheSTadarzanaM viziSTamasmadAgamanaprayojanam || 15 // [ 16 Nirattha-saMgA ] nirastasaGgA nigamAntapAnthA yamAdiyogAbhyasanodbhaTazramAH, ciraM vicinvanti tapodhanA api yaM sa diSTyA mamAsi dRSTigocaraH // 16 // [ 17 jiaM jiaM ] -- jitaM jitaM me nayanAbhyAM yAbhyAM [ tava ] sujAtasaundaryaguNaikamandiram, prasannapUrNAmRtamayUkhasadRzaM mukhaM prahAso - jjvalamadya pIyate // 17 // 1 T niyantraNA ( NaM ? ). 2 [ 'lambhato ]. 3 [ parityajAva: ]. 4 [ iva ]. 5 tiNo, M ( kiMnu ? ). 6 [ viramati ]. 7 [ kathyate ]. 8 [ sacchAyaM ].

Page #107
-saMskRtacchAyA [18 Nisijjhae ]-niSicyate mAdhava mAtulena te vijRmbha- mANeneva pAparAzinA, amuSya pratyakSanirIkSaNotsavo mukhasya yadvA vidhivAmatA khalu sA // 18 // [19 mamaMmi tuTuM]mayi tuSTaM vidhinA nu sAMprataM mahAnmamaiva nu puNyasaMbhavaH, yadadya tenaiva bhojarAjena visRSTo'haM tvayi kAryagauravAt // 19 // [20 suNAhi tAseNa ] -zRNu trAsena sadA samAkulo yadIhate mAdhava te sa mAtulaH, sa vaJcayituM vAJchati tvAmiha sAMprataM jagate yo dadAsi khalu kAmapi saMpadam // 20 // [21 palaMba-bAhussa ]-pralambabAhorvadhAya yasya te pralambakezipramukhA na pAritAH, tamAtmanA saMprati saMpramardituM tamaHpradhAnaH sa hi sannAti hi // 21 // [22 dharAhiNAho ]-dharAdhinAtho dhanurutsavacchalAt khalatrilokIpate hiMsituM tvAm, samaM samArabhate kumbhirAjena samaM ca mallaiH sa maJcamAsthitaH // 22 // [23 rahammi ]-rahasyAhUya rAjapAMsano babhANe mAM kimapi sa tadapi zrUyatAm, amandamakrUra vraja gokulaM bhaNa bAlAvapi ca rAmakezavau // 23 // [24 caatthi bhoAhiva ]-cakAsti bhojAdhipabAhupAlite zarAsayajJo madhuraoNmahAgRhe, tadIkSituM vA yadi kimapi kautukaM tataH samAgacchataM pazyatamutsavam // 24 // 1 [ asya ]. 2 [ tvAmapi ]. 3 r omits some portion. 4 [ abhaNat ].5 [ mathurA ].

Page #108
-prathamaH sargaH [ 25 sa gaMdagovo ]-sa nandagopo'pi samitrabAndhavo javAt samAvrajatu mama mandiram , atuccho yuSmAkaM vIkSaNAdaro mameti tenaiva sarvamIritam // 25 // [26 imassa kajjassa ]--amuSya kAryasya zarIramIdRzaM yasmin khalu prANAyate vipralambhanam , na vraja vA nandajai vraja vA tvaM vidhiniSedho'pi na dUtakartRkaH // 26 // [27 pavaTTae cAva-]-pravartate cApamakha iti kautukaM nivartate vaJcanasAdhanamiti tad , dvidhA vale bhrAtarbhAvabandhanaM mameti tamajalpa rohiNIsutaH // 27 // [28 idaM vao]-idaM vaco abhaNyate vanyamAleinA alaM kutarkeNa pralambasUdana, akAryasajAnAM hi zatrusaMbhavaH kuto bhayaM kAryapathonmukhAnAM naH // 28 // [29 aha pphuDaM ] -atha sphuTaM kariSyati sAhasaM yadi kSayaM svayaM yAsyati prAkRto janaH, samiddhamagniM grasituM samutthito na dahyate kiM zalabhAnAM saMcayaH // 29 // [30 visuddha-sIle ]--vizuddhazIlAn vimadacchala kamo na ko'pyasmAn spraSTuM pragalbhate, nabhasi tArAnikarAnsamujjvalAn nizAndhakAro malinayati kiM bhaNa || 30 // 1 [ asya ]. 2 // nanda. 3 // niSedho hi. 4 [ taM jalpati ]. 5 [ bhaNyate ]. 6 vizuddhazIlo, T degzIlA. 7 T vimata', . vimacchaladeg.

Page #109
58 -saMskRtacchAyA [31 bhua-ppaAvo ]-bhujapratApo bhujadarpazAlino ripUNAM madhya eva saMgrakAzate, hiraNyaretaso'pi jAlasaMcayaH svayaM samindhe kimindhanaM vinA // 31 // [32 varaM vaesagga]-vayaM vrajezAgrasarI nirAkulAH sazikyabhANDAH zakaTAdhirohiNaH, samuccalAmaH sakalA api sAMprataM sabhAjitoM bhavatu sa bhojabhUpatiH // 32 // [33 iAlavaMto]--ityAlapan saha sIrapANinA rathaM samArohati devakIsutaH, karAgrasaMvalgitapragraho javAtsa tasya pRSThe ca gAndinIsutaH // 33 // [34 suhaM rahammi ]-sukhaM ratha eva hopame svayaM zayAno gamayitvA yAminIm , prage samaM saMmilitairmAdhavaH sa nandagopapramukhaiH prasthitaH // 34 // [35 aho samAaNNia]-atho samAkarNya karNadussahAM pravAsavArtA patagezaketoH, galodgaladazrujalokSatAkSaraM viyogabhIrtI vyalapana gopikAH // 35 // [36 amuddhaaMdammi]-amugdhacandra iva zambhumastake akaustubha iva viSNuvakSasi, anandaje nandagRhe kA zrIH hatA hatA vayaM vrajAGganAH // 36 // 1 [jvAlAsaMcayaH ]. 2 M brajezAgresarA. 3 T sabhAjiko. 4 T samArohadevakI. 5 M saMvAllita. 6 r omits some portion. 7 [ jalokSitAkSaraM ]. 8 M bhItyA. 9 [ vilapanti ].

Page #110
-prathamaH sarga: [37 aNaNNa-NAhA ]--ananyanAthA api hA vihAya no ghRNAM vinA jhaTiti gate vidAruNe, tasmin jane lagati sAMpratamapi yattadasmAdRzInAM khalu mano vininditam // 37 // [38 kimettha amhe ]-kimatra vayaM' kurmo guNottare jane pinaddhaM yuvatInAM mAnasam , na tIryate cAruprasUnasaurabhe mahIruhe bhRGgakulaM ca kraSTum // 38 // [39 pahANa-pANANi]-pradhAnaprANAH khalu no janArdanaH sa yena dUraM gamito durAtmanA, kRtAntadUta eva sa samAgato na kaMsadUta iti jAnIta gopikAH // 39 // [40 imAhi kUro] -asmAt krUro na para iti asya kRtA avazyamakrUrazabdaprakriyA, aghorazabdaM yathA ghoramUrteH zivasya vyAcaSTe tatheti manyAmahe // 40 // [41 harissa rUvaM ]-hareH rUpameva saMsmarata bho harinmANazyAmalakomalaprabham, snigdhakezAJcitamayUrapiJchikaM vikasitendIvaravizAlalocanam // 41 // [42 phuraMta-daMtujjala ]-sphuraddantojjvalakAnticandrikAsamagrasaundaryamukhendumaNDalam , vizuddhamuktAguNakaustubhaprabhApradIptavakSaHsphuTavatsalAcchanam // 42 // [43 bhuaMga-bhoAkai ]-bhujaGgabhogAkRtisaundaryabhaGgadaprakAmasaukumAryabhujAlatAJcita . maNiprabhAkIrNasuvarNamekhalAvilambipItAmbarazroNimaNDalam // 43 // 1 M kimasmAdRzyaH. 2 // krUro vara iti. 3 [ degprakAmasukumAra' ]

Page #111
60 - saMskRtacchAyA - - [ 44 ha - pahAliddha ] - khaprabhAspRSTanabhaH pathAmalapravAlatAmrojjvalapAdapaGkajam, manojJahAsAIkaTAkSatrI kSaNakSaNakSobhyamAnatrajAGganAGgajam // 44 // [ 45 NiaMbiNIo ] - nitambinyo niculArdrapallava prabaddhaparyaGkapramardanirdayam, na vismaryatAM navaM navaM kRtaM janArdanena yamunAtaTakIDanam // 45 // [ 46 jahiM dusA ] --- yasmiMstu sA nirlUna phullamaJjarI namadvRntAprabhramatSaTpadA, zukAnUdyamAna sugUDhajalpitau taTAntavAnarilatA khalu sAkSiNI // 46 // [ 47 mauMda-veNUara ] - mukunda veNUdaraniryadvandhurasvarAmRtAsvAdeMvirUDhapallavAH, davoSmazuSkA api vanAntapAdapA yasminkhalu grISmAtapam AvRNvan naH || 47 // [ 48 vaNANilA jattha ] - vanAnilA yatra kalindanandinItaraGgasaMparka snigdhazItalAH, akurvan naH paGkajapAMsumAMsalAH zramAturANAM tAlavRntakAryam // 48 // [ 49 bhuvaMti govaDUNa ] - abhavan govardhana zailamekhalAtrilambitodgarjitavidyuto ghanAH, AsAM no mAnavinodanonmukhA yasmin yadRcchAgatapIThamardAH // 49 // 1 navaprabhA 2 M Defective reading. 3 surUDha. 4 [ svanAmRtAsvAda ] 5 [ AvRNvanti ]. 6 [ kurvanti ]. 7 [ bhavanti ]. 8 M 'gatipIThamardanAH, [ pIThamardakAH ].

Page #112
~prathamaH sargaH [50 jahiM ca]-yasmiMzca vRndAvanamekamandiraM maNipradIpo mRgalAJchanaH svayam , navA ca zayyA tarupallavAvalI vasantapuSpANi ca bhUSaNAni naH // 50 // [51 gao sa kAlo]-gataH sa kAlo gajagAminIjanA manorathebhyaH kurmaH tilAJjalim , sukhasya sarvasyApi mUlakAraNaM jano gato yajanalocanAJjanam // 51 // [52 kaA Nu kaNhassa]-kadA nu kRSNasya kapolaghUrNanazIlasphuTaprabhAmaNDalakuNDalojjvalam , supakkabimbIphalapATalAdharaM muhUrta prekSidhyAmahe mukhAmbujam // 52 // [53 kaA Nu pINa ]-kadA nu pInastanagADhapIDanAmRdyamAnojjvalavanyamAlikam , AbhyAM dobhyAM pariveSTyAsya vizAlamAliziSyAmo bhujAntaram // 53 // [54 asaMka-saMkea]-azaGkasaGketalatAgRhodarasthitasya mArgaprahitekSaNasyAsya, javena gatvA yatheSTaceSTitaM kadA nu vA pAsyAmosdharAmRtam // 54 // [55 ia-ppalAvaM ]-itipralApaM priyavipravAsajaprakAmazokAturamaGganAjanam , mukundavAcA sa gAndinIsutaH samAgato ajalpat kimapi sAdaram // 55 // [56 ahIramAhIra ]--adhIramAbhIranitambinIjanA mugu khalu yUyaM vilapatha vihvalam , kathaM nu vo muJcati caJcalekSaNAH kSaNamapi sa yuSmadvazaMvado hariH // 56 // 1M tilakAjaliM. 2 // iti prakAmaM, 'T iti pralApaH.3 [jalpati ]. 4 mugdhA.

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62 -saMskRtacchAyA [57 vijimha-tumha ]-vijihmayuSmadbhUkodaNDapramuktanetrAJcalabANakAlitaH, kathaM khalu sa kampate saMprati kSaNaM sahyatAM kAryAbhimukhasya sAhasam // 57 // [58 usammi saMmajjai ]-uSasi saMmajati sAgare yaH sa sAyamunmajati kiM na candramAH, alaM viSAdena vilAsinInAM vo gatasya pratyAgamanaM na durlabham // 58 // [59 samattha-loassa ] samastalokasya prakAzahetoH tamaHprapaJcasya nirAsakAriNaH, pratiprayANaM pratipAlayatAsya sarojinya iva sahasrarazmaH // 59 // [60 vioa-soumhala]-viyogazokoSmalApatApitaM vrajastrIsArthacAtakIkulam , vaco'mbudhArAbhiH suzItalAbhiH sa sukhayAmAsa mAdhavadUtavAridaH // 60 // [61 aha diaha ] -atha divasavikAsaprakrame prArohatsapadi harisanAthaM syandanaM gAndineyaH, nayanapadmarAjirocanIyAM janAnAm ala. bhate zubhAmabhikhyAM' kAmapi sa kAzyapiriva // 61 // [62 java-jia-pavaNeNaM]-javajitapavanena vrajan rathena saha pazupavaraiH agAharte mAdhavaH sa, kRSNagirizikhAlItulyakallolamAlAbhraMzitataTatamAlAM sUryakanyAyA velAm // 62 // [63 jauNA-salilammi]-yamunAsalile majana pratibimvamiva 1 [ sukhayati ]. 2 [ labhate ]. 3 4 zubhAmikhyAM. 4 [ gAhate ]. 54 majjat .

Page #114
- dvitIyaH sargaH - tasminnapi vAsudevam, pralokya babhUva vismayamAna: pulakodbhinnatanuH sa gAndineyaH // 63 // [ 64 taraMto taM ] -- taraMstAM tataH se taruNamanassantoSamadhuraH stravRndaiH sArdham avizat madhurAM nAma nagaram tasmin vIthIgAhI cakAre vanitAnAM samadhikaM samAnandaM candra iva kumudinInAM madhu " mathanaH // 64 // [ iti rAmapANivAdakRte kaMsavave prathamaH sargaH ] 63 [ dvitIyaH sargaH ] [ 1 aha mAlia ] --atha mAlikadattamAlabhArI vanamAlI musalI ca vrajantam paridhautavastrabhANDavAhaM rajakaM kamapi apazyatAM rAjamArge // 1 // " [ 2 mau-hAsa ] mRduhAsa manoharAnanAbhyAM kumArAbhyAM vasanAni yAcitaH saH, kumanA ghanagarvadurvinItaH kupito abhASata bhojarAja - bhRtyaH // 2 // [ 3 Na hu saMbhariuM ] na khalu saMsmartumapi zakyate yattadidaM jalpatho Dimbhakau kimevam, nanu khAdati tarjito'pi yaH sa spRSTaH kiM na karoti kRSNabhogI // 3 // 1 MdegvapuH 2 r omits sa, M Defective reading. 3 [ vizati ] . M madhurA. 5 [ karoti ]. 6 r madanaH 7 [ pazyataH ]. 8 [ bhASate ].

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64 -saMskRtacchAyA [4 NavaraM Na lahissai ] kevalaM na lapsyata iti nedaM vasanaM bhojapateryAcyamAnam , nanvidameva yuSmacchIrSacchedasyApi bho bhaviSyati kAraNaM jAnItam // 4 // [5 abhaNijjavau-]-abhaNitavyavacaudgamena jAlmA anubhavanti sphuTamAtmano vinAzam , capalAM labdhvA pakSmapAloM' zalabhAH kiM na mriyante havyavAhe // 5 // [6 aha ho -atha bhavatu saha ekavAramahaM yuvayorbAlacApalAni, na saheta narAdhipa imAni yadi sa zroSyati vAtsalyavandhyaH // 6 // [7 ia so kaDu]-iti sa kaTu bhASitvA yAvatprahasannevApakramituM pravRttaH, sahasA madhusUdanena tAvadvasanAni hRtAnyasya karAt // 7 // [8 ahihodu-maNassa ]-paribhavitumanasaH krodhabhArAdrabhasotthApitayaSTipANerasya, atha tatkSaNanakhakoTirugNaM paryapATayat ziraH zriyo nAthaH // 8 // [9 Nia-paMka ] nijapaGkavizodhanAvadAto rajakasyAbhyadhikaM laghUbhavana, prAvizat sadAprakAzamAtmA vasanAnAM nikarazca vAsudevam // 9 // [10 siaehi ]--sicayaiH sitairasye zarIraM vasitaiH alasat tamAlanIlam, kanakojjvalamekhalAbhirAmaM zazimayUkhairiva nIlazailazRGgam // 10 // 1 [ pakSapAlI ]. 2 [ abhibhavitu ]. 3 [ paripATayati ]. 4 [ pravizati ]. 5M litairasya. 6 [ lasati ].

Page #116
- dvitIyaH sargaH - - [ 11 aha pekkhar3a ] - atha apazyat vakratAM gatayA tanuyaTryApi dRSTiramyarUpAm, madanasyeva se kodaNDayaSTiM vanitAM kAmapi samunnamatpRSThAm // 11 // 65 [ 12 aNusappira ] anusarpaNazIlaSaTpadaM vahantI maNipAtraM mRtakuGkumaM karAgre, zanaiH zanaiH samApatantIM samupAgamya apRcchat harirenAm // 12 // [ 13 kuDilacchi ] -- kuTilAkSi vale kuto'si bAle kuTilIbhavati kathaM tava zarIram, masRNaM ghusRNaM ca kasmai dAtuM zanairgacchasi prekSaNIyarUpe // 13 // [ 14 aha jampai ] -- atha ajalpat sA vidheH zaktirbalavajjUmbhate trAmA mayi, hRdaye prasiddhAM strINAM mama gAtre'pyakarot vakratAM yA // 14 // [ 15 suNa suMdara ] - zRNu sundara zilpakArikAhaM nRvarAntaHpuravAsinI vinItA, ghusRNaM punaH kaMsarAjAyAsmai praNidAtuM pracalAmi taniketam // 15 // [ 16 suumAramiNaM ] - sukumAramidaM ca te zarIra surabhiH kuGkumapaGkajacaiSaH, parigRhNAtu tasmAdbhavAnevedaM sadRzayorhi samAgamaH sukhAya // 16 // [ 17 ia tappaviiNNa ] - iti tatpravitIrNakuGkumAbhimRSTAGgI 1 [ prekSate ]. 2 ca. 3 M kopadaNDa 4 [ pUcchati ]. 5 [ balpati ]. 6 M gAtre vyakarot. 7 [ pazcaiSaH ]. 8 M tatpravikIrtha.

Page #117
- saMskRtacchAyA vyalasatI kRSNarAmau, saprasUnakalAye sinduvArAviva sandhyAtapasaMspRzyamANau // 17 // 66 [ 18 cibue kara ] -- cibuke karapallavena kRSNaH zanairgRhItvA sArasekSaNAM tAm, atha kubjAmRjvImakarot sphuTalajjAvalitAnanendubimbAm // 18 // [ 19 paDhamaM kuDilA ] - prathamaM kuTilApi candralekhA yathA saMpUrNatAmeti pUrNimAyAm, tathA sA sahasA babhUva pUrNA kamanIkomalakAntikaumudIbhiH // 19 // [ 20 adabhUmi ] - atibhUmimupAgataM mRgAkSI madanAyallakazalyamudvahantI, natvA abhaNat nandasUnuM dhutalajjAnigalairakSaraiH // 20 // [ 21 imiNamhi ] - anenAsmi zarIrazobhAvibhaveneti tvayi rUDhavairaH, tvayAnukampitetIdAnIM kimu mAM bAdhate manmatho mahAtman // 21 // [ 22 visa rukkha ] - viSavRkSaprasUnairmanye viSameSurvizikhAnadhunA karoti, mRdubhiH kimanyathA mano me anena dahyate nIyate ca mUrchAm // 22 // [ 23 avasaM savasaM ] - avazAM svavazAmapi mAraghorajvaradUyaprAnamanasaM manojJamUrte", anugRhANa mAM kRSNasArazAracchavisAraiH kaTAkSavIkSaNaiH // 23 // 1 [ vilasata: ]. 2 [ saprasUnakalau ca ]. 3 [ abhavat ]. 4 [ bhaNati ]. 5r manaH samohanamUrte

Page #118
- dvitIyaH sargaH - [ 24 hariNIla- siNiddha ] - harinIlasnigdhamugdhazobhe tava saMkrAntamurasi ramyarUpam, kRSNAcaladhAturAgakalpaM stanakumbhAbhyAM mAmi kuGkumamenat // 24 // [ 25 aha vAharai ] - atha vyAharati sma vAsudevaH sumahattava subhru sAhasikyam, iha yAni mayA vivakSitAni hRtAni tvayA tAnyakSarANi // 25 // [ 26 viasaMta ] vikasanmukhAravinda niryadbhamarAlApacchalAbhilAvAcam, pratipAlayati kiM nu mallikAkSo nalinIM kiMtu sarati dRSTimAtrAm // 26 // [ 27 maha mANiNi ] mama mAnini kAryagauraveNa paravato na tava kumbhasthUla, parirabdhumavasara urojau svavaza eva kSamo hi kAmatantre' // 27 // [ 28 ahamehimi ] -- ahameSyAmi tAvadbhUpasevAnigalAnmama yAvadbhavenmokSaH, na hi kairaviNIM spraSTumIzo ghanaruddhaprasaraH sa candramA api // 28 // [ 29 aha No ] - atha nau hRdayepsitAni pazcAt zazijyosnonmRSTAsu yAminISu, sujanAnAM sabhAsu satkavInAM vacanAnIva prathantAM krIDitAni // 29 // [ 30 ia taM pia ] - iti tAM priyadarzanAM bhaNana muditAmeva 1 [ dRSTamAtram ]. r kAmatantraH.

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68 -saMskRtacchAyA visRjya kRSNaH, svajanaiH sahAmrajo gataH sa zanaistato avizat ca rAjadhAnIm // 30 // [31 mahaNijja]-mahanIyamahojjvalAGgalakSmIvibhavAlokaviphullakautUhalAH, prAdizane pRthagjanA api mArga tasyAmasmai kaM na haranti pUrNabhAgAH // 31 // [32 maNi-dIva ]-maNidIpazikhApradIpyamAnAM kanakastambhavilanahAragumphAm , mahiSAkSadhUpagandhagardA madhuvairauM viveza kodaNDazAlAm // 32 // [33 mahiaM bahu]--mahitaM bahugandhamAlyairdhanurgRhItvA pANipallavAbhyAm , sahasaiva sajyaM kurvan sa samAkarSat muSTipIDitamenat // 33 // [34 ai bAlaa-ayi bAlaka rAjapUjitametaddhanurmA spRza mA spRzeti yAvat , vacanAni azrUyanta kiMkarANAM truTitaM madhusUdanena tAvat // 34 // [35 yaNi kimiNaM]-stanitaM kimidaM kutaH payodo narasiMhadhvanitaM nu tannivRttam, iti vitarkazatena duHsthacitto dhanurbhaGgacaninA babhUvaM kaMsaH // 35 // [36 aha rakkhibhaDe ] -atha rakSibhaTAn parAkramataH paruSaivacanairAkSipataH, prAmRdgItA" praroSabhayaGkarau dhanuHkhaNDAbhyAM raNe rAmakRSNau // 36 // 1[vizati ]. 2[pradizanti ]. 3[puNyabhAjaH ]. 4 // vairiviveza. 5[ vizati ] 6 [ samAkarSati ] 7T pUjitamenaM.dhanurmA, 8[zrUyante].9 [ abhavat ]. 10 [pramRdrItaH].

Page #120
-dvitIyaH sargaH [37 mihirammi]-mihira iva prakAzamAne vanamAlini manAMsi sajanAnAm , kamalAnIva abhavana phullAni kumudAnIva akucana durjanAnAm // 37 // [38 aha cAvagharAhi]-atha cApagRhAniSkrAman saha rAmeNa sa devakItanUjaH, yuvatinayanaiH pIyamAno vyacarat sphuTamaGkaNasthalyAm // 38 // [39 samuvahia ]-samupasthitabhojarAjadhAnI sarasaM tAM pralokya rAjadhAnIm , abhaNa zanairmanobhirAmaM sa hi vAgbhiH savistarAbhirAmam // 39 // [40 uva No bhuvaNa ]--pazya no bhuvanapaNAyitAyA madhurAyA madhuratvaM puryAH, maNiharmyapAlimaulikumbhaskhalanApavAhitasUryasyandanAyAH // 40 // [ 41 iamuNNami ]-iyamunnamitocaketuhastapracAlyamAnapatAkikAGgulIbhiH, svavibhUtilaghUkRtAM sagarvA nagarI tarjayati kiM nu nirjarANAm // 11 // [42 kaNAala]-kanakAcalazomasaudhazRGgasthalakrIDatpurAanApsaraughoH, parikhArNavamadhyavartinIyaM svayamAlambate jambUdvIpalakSmIm // 42 // [43 phalihovala ] sphaTikopalakuTTimapradezo harinIlAlaya: 1 [ bhavanti ]. 2[ kucanti ].3 [vicarati]. 4 [samupastAva ].5 [ ti]. 6[ savistarAmI rAmam ]. 7 // pazyantau. 8sagaLa. 9x omits sauSa.

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70 -saMskRtacchAyA razmimizrito'yam , iha saMprati saMsmArayati no yamunodgRhItajAhnavIpravAham // 13 // [44 kasaNovala ]-kRSNopalakeliparvatAnAM tamaHzyAmAbhI rucibhirnihutAyAm , divase'pi saranti vIthyAM' vidhutAzaGkamihAbhisArikAH // 14 // [45 iha kaMcaNa]-iha kAJcanagehakAntilipte gagane bAladinezamayUkhamohAt , vighaTate na dIrghikAsu dIrgha rajanyAmapi rathAGganAmayugmam // 45 // [46 iha vappa-maNi ]-iha vapramaNiprabhAsamUhA gaganaM maNDalazobhino lihantaH, kheH zazinazca kacitkAlaM pariveSaprabhAmujvalAM kurvanti // 46 // [47 valahI calaesu]-valabhIvalayeSu gopurANAM viharatAM vilAsinIjanAnAm , muSNAti mukhendusvedabinducchalamuktAphalAni svargavAtaH // 47 // [48 iha caMda-maNI]iha candramaNigRhodareSu samaM candramukhIbhiH saMvizantaH, na labhante ratizramaM yuvAnaH taparAtriSvapi nAma tAmasISu // 48 // [49 iamunnamiucca ] -iyamunnamitoccasaudhazarSAi pravikasitairgavAkSalocanaiH, ratnAkaramekhalAkalApAM kutukavatI pralokata iva bhUtadhAtrIm // 19 // 1 [vISikAyAM ].2 [ likhantaH ]. national

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-dvitIyaH sargaH [50 adihINa ]-atithInAM kurvanti pAyakArya pracalatprasavAsavodakaiH, iha. niSkuTavATabAlavRkSAH sukhapraznaM ca ravaiH kokilAnAm // 50 // - [51 sara-sIara]-sarazIkaravAhinaH samArAH sarasAmodaharAH saroruhANAm, mithunAnAM ratizrama zamayituM sadA sajanti nanvatra vistRNantam // 51 // [52 iha koccaNa ]---iha kacana picchilAyAM nityodbhaTagajakaTAvaTanijharaiH, lagnA vasudhAyAM dadati bhRGgA nendranIlopalakuTTimabhrama kim // 52 // [53 aNiaMtaNa ] -aniyantraNayantramArganiryaddhvanitoddhoSaNa- .. zIlavAridhoraNIbhiH, iha kacana nityasicyamAne nilaye nRtyati pratyahaM mayUraH // 53 // [54 iha suvvai ]-iha zrUyate nirvahattAlasphuTasaMgatinaTAGgahAracihnam, gabhIro ghanarjitAnurUpo madhuraH kacinmRdaGgatuGganAdaH // 54 // [55 suNa puvvaa]-zRNu pUrvajasundarIjanAnAM madhugoSThISu madAnuSaGgasAndram, lalitaM kalakaNThakaNThanAdapratima vacana nartane gItam // 55 // [56 parado suNa ]-parataH zRNu sthAnivadbhAvAdviphalaM pratyayalakSaNasya sUtram, saphalaM tadalAzraye kArye iti vaiyAkaraNAnAM vAdaghoSam // 56 // 1 . dadhati. 2 nityadIpyamAno. 3 // pUrvamundarI.

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72 -saMkumacyA [57 sa-salAha ]- sazlAghazlokapAThakairmukharaM kacana bandivRndaiH, idamasmatpuraM ciramapi dRSTaM na khaluH dRSTiM parato nivartayati // 57 // [58 gaMdhavvA Na]-gandharvA na kimatra santi na khalu ki vidyante vidyAdharAH kiM vA cAru na cAraNAnAM ca kulaM jayanti no kinarAH, ki nedaM sumanasAM dhAma kimaho nAtho mahendro nAsya svarga eva vasUnAM sthAnamidaM ramyaM sudharmojjvalam // 58 // [59 kIlAselagga ] ---krIDAzailAmalagnastanitadhanaghanotsRSTavRSTipraNAlI zaMkArotkaNThamayUrasphuTanaTanakolAhaladIpyamAnakAmAH, vAmA vAmA api pInastanakanakaghaTau saMghaTayya gADhaM kaNThe gRhNanti kuNThetaramiha pRthurAgAIzIlA vallabhAnAm // 59 // [60 ia bahu-vityaAi ]-iti bahuvistRtAni viSayANAM bahutvataH svayamatha gozatAni upasahRtya sukham , vasatim upAsarat vasudevasutaH sa yadA tadA khalu divAkaro'pi caramAcalamaulibhuvam // 60 // [iti kaMsavadhe dvitIyaH sargaH ] [tRtIyaH sargaH] [1 pacUse para]-pratyUSe paramara galra lliyuddhaprastAvaprathamapravRttasUtradhAraH, prArabdhaH paTaharavaH prabodhavelAmapantAm abhaNa iva bandivRndebhyaH // 1 // 1. mulAgha. 2 . parito. 3 // mahIndro. [ upasarati ]. 5. pratyUhe. 6[ bhaNati ].

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- tRtIyaH sargaH [ 2 bujjhatI buha ] - budhyamAnA bughapratibheva kAvyabandhAn banatI' bahalarasairakSaraiH, prasuptaM padmavilocanaM prabodhaM prApayitum akramate krameNa bandipAlI // 2 // 73 [ 3 kallANaM kamala ] -- kalyANaM kamalazrIkaTAkSavIkSAvikSepapracaTulacaJcarIkamAlam, kalyANaM karotu purassarasya tava kalyaM nanu subhaga sukhaprabodhahetuH // 3 // [ 4 hossaMtiM tuha ] - bhaviSyantIM tava mukhalakSmImakSizobhAvicchAyIkRtanijacihnakRSNimAnam, pazyan prathamamayaM tava prabodhAnniSkrAnto nibhRtagatirnizAyA nAthaH // 4 // [ 5 jAo de jau ] - yAste yaduta netratArakA nizzeSaM janamanugrahISyanti bodhe, tAbhyo lacitarAstArakA vrIDayA dhruvaM pazya bhavanti niSprabhAH // 5 // [ 6 joNhAaM tuhiNa ] - jyotsnAyAM tuhinakarasya vRkSacchAyApracchannAH kathamapi sthitAH khalvandhakArAH, ullAse tavamukhacandracandrikAyAH zaGkamAnA nijakSayamidAnImapasaranti // 6 // [ 7 tUraMto viraha ] tvaramANo virahavedanAvizobhaM rAdhAyAH subhaga tvamiva bhAnumAn, mIlanmukhakamalaM sarojinyAH saMprAptaH parimArchu karAcalaiH // 7 // [ 8 bItA vimaa 1 - bibhyato vimatabhaTA yathA tvatsUryAt 1 M badhnantI. 24 upakramata, [ kramate ]. 3 T calIka

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74 -saMskRtacchAyA suciramudetumunmukhAt , ajJAtabhraSTaprasannatAdukUlA nilInA kuhacinmukundacandramayUkhAH // 8 // [9 jhINA vihaDaNa ]-kSINAyAM vighaTanakAraNe nizAyAM cakravAkA nijavanitAbhiH saMghaTante, zAntAyAmiva nijapApasaMtatau santaste sakaruNavIkSaNacchaTAbhiH // 9 // [10 bhiMgAliM pulaia ]-bhRGgAli pralokya paGkajAnAM garbhe saMbhrAntAM daravivRtAnAM saMsmarAmaH, udbodhakramavikasadIrghatarAkSidrakSyamANaprasarAmaye kanInikAM te // 10 // [11 saMbhiNNa-ppaha ]-saMbhinnaprabhAmidamISaccandrikayA bandhUkAruNamaruNasya razmijAlam , muktAlI suvizadadantakAntizliSTaM dRSTiM no harati tavevAdharoSTham // 11 // [12 Aliddho diaha ]-AspRSTo divasapateH pATalairmayUkhaimarakatakuTTimo vibhAti, gopInAM ghanakucakumbhakuGkumaiH saMkrAntastaveva kRSNa vakSobhAgaH // 12 // [13 ummillAvai ]-unmIlayati kamalAkaro na yAvat svacchanda mukulamayAni locanAni, unnidro nijanayanotpale tAvat phulle kuru tvamapi vAsudeva // 13 // [14 AvijjhA ravi ]-AviddhA ravikiraNaiH sUryakAntA USmANaM vamitumamI upakramante, no kSudrA api sahante'nyatejovicchadai kimuta tvAdRzA mahAntaH // 14 // 1T bhaMgAlI:. 2 // garbha 3 T muktAli. 4 M aspRSTo, [ AzriSTo ].

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- tRtIyaH sargaH 75 [15 tikkhaMsu-pphuDa ]-tIkSNAMzusphuTaharinakhavikSatAdvikSobhaprapatitakSamauktikAt, andhakArasthirakarimastakAt sandhyArAgo'yaM vigalati zoNitapravAhaH // 15 // [16 NihANaM kumuiNi ]-nidrANAM kumudinImujjhitvA sadyo budhyamAnAM kamalinImAzrayati bhRGgaH, pratyUho na hi bahuvallabhasya kacittaveva pratinavakrIDanotsaveSu // 16 // [17 AaMbo kuNai ]-AtAmraH karoti dinezarazmirAziniyantInAM priyavasatebandhakInAm, sthUlayoH stanakalazayorvallabhoraHpramRSTaghusRNarasaM punariva liptam // 17 // [18 kiMcemo jalahi ]-kiM cAyaM jalavijale saMmilansaMdadAti sphuTavaDavAgnizaGkAm, AmreDayati punarhastimastakeSu sindUraprakarapizaGgimAnameSaH // 18 // / [19 sacchaMdaM churau ] svacchandaM churatuM indranIlazyAmale te vakSasi truTitapravAlakhaNDazobhaH, saubhAgyaM labdhumayaM khalla sUryamayUkhasta. lakSmIghanastanakuGkumAGkanasya / / 19 // [20 puvvAsA-juvai ]-pUrvAzAyuvatizravaH pravAlabhUSAtATaGka gaganasarassahasrapatram, prAcInAcalamANisaudhamaulikumbhaM pazyedaM dinakarabimbamujihAnam // 20 // [21 evaM siM ]-evameSAM stutivacanodgamAt pUrva paryaGkam 1M rAziM nItAnAM. 2 // punarivAliptam. 3 4 saMmilat saMdadhAti, T sa dadAti. 4 [ sphuratu ]. 5 // churita.

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-saMskRtacchAyA amucat janArdano vinidraH, unmeSaM labhate purassarojavATaH pazcAnnanu prasarati rAjahaMsanAdaH // 21 // [22 pacUse citra]-pratyUSa eva nijasvacchagAtralakSmIvicchardaspRSTaviyatpathAvakAzaH, pratyakSo avabhat raviriva pAdasevAtAtparyapravaNamanasAM sa janAnAm // 22 // [23 saMjhaM to ]--sandhyAM tato vikacajapAprasUnatAmrAM tAmbUlAruNavanitAdharoSThazobhAma, rAdhAyA mukhavidhusaMsmArakaM sa vandamAno acalat purIdvArAbhimukhaH // 23 // [24 pAlea-cchai ]-prAleyacchavitanobalasya pazcAd vrajan pracaTulahAracAruvakSAH, kRSNo'sau bahu vyalasat vidyutvAMzcandrasyeva navanIlavArivAhaH // 24 // [25 soeNaM bahu]-zokena bahudivasAt samAturAyA vAmAkSi asphurat tadA svamAtuH, kaMsAdInAM ca kuhanAsamAzrayANAM zatrUNAM prakRtihatAzamallakAnAm // 25 // " [26 sohagga-dvia]-sauvAgrasthitanagarAGganAkaTAkSacchAyAlImasRNamasAramaNDitayA, vIthyA vividhavilAsaveSalakSmIbhAsamAnau zanaiH AyetAM rAmakRSNau // 26 // [27 aMbaTTho garavai ]-ambaSTho narapatizAsanAdvAre durvAra 1 [ mutrati ].2. [ bhavati ].3 [saMsmArakAM ]. 4 [calati ]. 5 [vilasati ].6 [ rati ].7T omits this. 8. [ ayataH ]

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- tRtIyaH sarga: prasarapratApamIzvaraM' tam , rorbu prAyatataM kumbhinA svapANicchatreNeva bhagavantamuSNamayUkham // 27 // [28 AmelaM kuvalaa]-ApIDa kuvalayapUrvamurvarAyAM krIDantamiva svayamabhramvA nAthama , krudhyantaM kulizakaThoradantadaNDaM kumbhIndra kuTilamanAH prANudatsaH // 28 // [29 mattuM kiM jama ]-martu kiM yamagRhamattavAraNasya pratyakSa nipatato mattavAraNasya, anyato apasarataM durdamau kumArau jhaTitIti prAlapat hastipaH sagarvam // 29 // [30 aNNatto jai ]-anyato yadi na nivartayasi nAgaM sajIvo vatsyati kSaNamapi nAyam , itthaM tato bhaNitvA hariH sahAnajanmA prArabdha paribhavitumenamugrakarmA // 30 // [31 uccaMta kkhuDia]-udvAntatruTitakaTAmbunijharA madhye praghaTitAlAmujaGgam , gajaM nijabhujakRSTaM mukundo bhrAmayan vyaharata mandaramiva pUrvam // 31 // [32 kujhaMtaM gaamaha ] krudhyantaM gajamatha kuNDalIkRtayA zuNDayA kRtapariveSamUDhahelam , mRzyan bhramarakarambite gaNDe caNDAbhiH prAharate sa capeTikAbhiH // 32 // [33 kIlAe lagai]-krIDayA alagat harirmayAM yAvattAvatsa 1 // prasaradurApa.2 [ prayatate ].3 M degmabhramUsanAtha, T Blank.4 [ praNudati saH], T prANadaNDam. 5[pralapati ]. 6M prakaTita.7 [ viharati ]. 8M praharanmandarAdimiva. 9 [ praharati ]..10 ( rugati ].

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78 - - -saMskRtacchAyA dazanayugena vAraNendraH, vidhyanmahItalamatra majatkRSTuM tadidamatho na azaknot // 33 // [34 kuMbhaM to kuvitra]-kumbhaM tataH kupitamanAH kSaNArdhakAlamAkrAmaMzcaraNatalena vAmena, udakhanat truTitaprazithilamUlabandhaM kRSNo'sya karayugalena dantayugmam // 34 // [35 jAhe so]-yAvat sa nyapatat vajrarugNapakSaprakSiptaH kRSNagirivi nAgarAjaH, tAvat khalu prAcalat zeSazIrSacakraprabhraSTamiva valayaM vasundharAyA // 35 // [36 aMbadda-ppahada ]--ambaSThaprahatapathena kiyacciraM sa hastIndraH sarati svayamiti cintayan , ambaSTham agamayat dhruvaM tadAnIM duSTaM hastIndraprahatapathena vAsudevaH // 36 // [37 gehaM tA gahira ]-gehaM tAvadgabhIrataroSmasaumyazIlau gAhamAnau gaganatalamiva puSpavantau, keSAMcitpraharSaphullatAm akurutAM keSAMcit pramukulatAM ca rAmakRSNau / / 37 // [38 gholaMtujjala]-pUrNamAnojjvalabanamAlabhArivakSasau krIDantau / / karivaradantapANI tau, pazyanto yathAsukhamakSijanmakArya svacchandaM sapadi alabhante sarvalokAH // 38 // [39 veraM je hiaa ]-vairaM ye hRdayasthitam avahanaM teSAM 1 [ zaknoti ].2 [ utkhanati ]. 3 [ nipatati ]. 4 // pakSaH. 5 [ pracalati ]. 6[ gamayati ].7 [ kurutaH ]. 8 mukulatA. 9 [ labhante ]. 10 [ vahanti ].

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- tRtIyaH sargaH 79 vastrANi mukulatamAni abhavan tAvat , vRkSANAM sadA nijakoTarapratiSThaH puSpANi davadahano hi mlApayati // 39 // [40 AdivA Navari ]-AdiSTA anantaraM durnayena rAjJA araNyebhA ra rabhasena siMhapoto, jetuM tau yadukumArau kRtapratijJAH sanaddhAH samabhyasarana mallayodhAH // 40 // [41 maMcagga-dvia]-maJcAgrasthitanijabhartRdRSTivRSTisicyamAnAviva madapallavollasantau, cANUraH svayamatha muSTikazca dvau pronidrau nikhilam AvatI mallasainyam // 41 // [42 cANUro kaiva-cANUraH kaiTabhasUdanaM saran sATopam abhaNat vale brajezasUno, icchannivasati tava yuddhakrIDApANDityaM pralokitumeSa bhojarAjaH // 42 // [43 bhUvAlo cia]-bhUpAla eva kuzalaH kodaNDazAstre gopAla eva nipuNo niyuddhatantre, yo yasminkaroti parizramaM prakAmaM sa tasminneva viniyojito vibhAti // 43 // [44 mallehiM saha ]-~-mallaiH saha mahAvikramaiH pratispardhiriya kathaM kila bhavedduSkarA tvayA~, bAlenaiva tvayA pralambakeziprAyAH kiM na khalu nihatA daityavIrAH // 44 // [45 tA jujhaM kuNaha ]-tasmAdyuddhaM kurutaM dvAvapi nAma yuvAM 1 [ bhavanti ]. 2 M omits. hi. 3 [ sabhabhisaranti ]. 4 [ avataH ]. 5 // avadat, [ bhaNati ]. 6 T baTo. 7 TdegduSkarAkhyA, [ tava ].

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-saMskRtambhayA dharmeNaiva khalu dvAbhyAM mallAbhyAm, asmAkaM jAnAtu svayaM kutUhalavAn bhojezo bhujavibhave tAratamyam // 15 // [46 evaM se suNi]-~evamasya zrutvA vacAMsi suprasannaH sannaddhaH samabhyaghaTata anena kRSNaH, kupyan kulizavighaTTaniSThurAbhiH muSTibhiH musaladharo'pi muSTikena // 46 // [47 dhibbola-pparusa ]-dhikkAraparuSaparasparapralApaM gRhyamANabhraSTapatadbAhuyantram , AsphAlasphuTakaTuzabdabhayaMkaraM kSubhyatribhuvanamAsIt teSAM yuddham // 47 // [48 kaDUMtA kara]-karSantaH karayugalena jAnujaGghAsaMghatruTita viliptaraktagAtrAH, uddAmabhramaNadhUyamAnabhUmicakrA vikrAnti vividhAmime samArabhante // 48 // [49 kaTuM ho ]-kaSTaM bhoH kaThinamanAH praNudati kaH zArdUlau zazazizubhyAM saMprahantum , gacchAmo viSamamidaM na prekSaNIyaM yuddhamiti prAlapat tAvatsAdhulokaH // 49 // [50 cANUra calaNa ]-cANUraM caraNayuge gRhan kRSNa enam akSipat taDiti dhAtrIpRSThe, jyeSTho'sya tathA kila muSTikaM ca duSTaM diSTAntaM samupagatau dvAvapi mallau // 50 // [51 jujhaMtA kadi ]-yudhyantaH katyapi hatA gadAgrajena 1 [ samabhiSaTate ]. 2 4 paTu. 3 M Asa. 4 [ samArabhante ]. 5. saMgraha . 6 [ pralapati ].-7 M tAvatsa anaH.8 [kSipati ].

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-tRtIyaH sargaH bibhyantaH katyapi palAyitAH khalu mallAH, mArtANDe sphuTataramudgate grahAH api pramRSTAH ka punar jyotiriGgaNaughAH // 51 // [52 bajhaMtu ppaidi]-badhyetAM prakRtikaTU baTU balAdvadhyantAM prasabhamime'pi gopasaMghAH, mucyamAnA jAnIta vinAzayiSyanti jihmAH yuSmAniti prAlapat tAvadbhojarAjaH // 52 // [53 bibbhANaM visama]-bibhrANaM viSamadhiyaM svabhAvavakaM kasaM taM kRSNabhujaGgamamiva ghoram , pakSIndra iva vinatArtibhaJjanaH sa maJcAprasthitam abhisamapatat kRSNaH // 53 / / _ [54 uluto kara]-uttiSThan karayugalamakhagacarmA yAvadenaM prahartumArabhate kaMsaH, bhazcAnmadhumathano haThena tAvadbhapRSTha patitamamuM kSaNAtU akarot // 54 // [55 vacchammi ppavaDia]-vakSasi prapatya kSipramastiprArita vistIrNastanataTacandanArde'sya, kRSNaH so akarot tathA gRhItakhaDgo bhUpaH so abhavat yathA kathAvazeSaH / / 55 / / [56 kaIto gala]-karSan galapathaniryadraktasiktaM gAtramasya garuDadhvajo gatAnukampam, svairaM so'labhata tasminkhalu vairazAnti dhIrANAmapi hi hRdayaM dhunAti krodhaH // 56 // [57 siNiddha]-snigdhaghanakuntalasphuritamayUrApiJchAJcite zriyaH 1 [pralapati ]. 2 ghiyAndhabhAvavakraM. 3 amisaMpatati ].4 T Arabhata. 5 [ karoti ].6 [ kSipramasthivasti ].7 [ sa karoti ].8 [ sa bhavati ]. 9 [salabhate]

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- saMskRtacchAyA - mRtyuH zirasi surakarAJca lonmuktA, bhramadbhamarAvalIkalakalairvA cAlitA surakusumacchaTA apatate tAvadevAlayAt // 57 // ra 82 [ 58 NacaMti phuDa ] - anRtyatai sphuTamapsaraso nabhaHpaithe svecchaM mitho matsarA divyA dundubhayo adhyanan gabhIraM svargAnilodgurNAH, pUrNA bhinnakaTAvaTanirjharadiggaja sArthodbhaTaprasphUrjatpramoda bRMhitamahAghoSairvizvaMbharA 1146 11 [ 59 aTTha dAva ] - aSTa tAvannRvarasya kaniSThA niSThurATTahasitAtigariSThAH, duSTaruSTamanaso'pi praviSTA viSTarazravahatA suragoSThIm ||59 || [ 60 ia samua ] - iti saMbhujasaMbhArasphArapratApamayAtapakSapitavimatAndhakAro vIro vizuddhaguNottaraH, budhajanamano'mbhojavAtaM nikAmavikasvaram akarot kuzalAloko loke mukundadivAkaraH || 60 // [ iti kaMsavadhe tRtIyaH sargaH ] [ caturthaH sargaH ] [ 1 tado a bhoesa ] -- tatazca bhojezabhujapratApagrISmoSmabhAreNa pradahyamAnam, kRSNAmbuvAhaH khalu kaTAkSalakSmIdhArAbhiH asecayat jIvalokam // 1 // [ 2 dhaMsaM gae ] - dhvaMsaM gate kaMsanRpe janAnAM manAMsi agAhate 1 [ patati ]. 2 M tAvadeva devAlayAt. 3 [ nRtyanti ]. 4 Tomits some portion. 5 M svecchA. 6 [ dhvananti ]. 7 M niSThurASTa. 8 [ svabhuja ]. 9 [ karoti ]. [0 [ secayati ]. 11 [ gAhate. ] da

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- caturthaH sargaH prasAdalakSmIH, paricyute prAvRDvArivAhe sarojavRndAnIva haMsarAjiH // 2 // [3 pavitta-cAritta ]-pavitracAritravilopazaGkAvivarjitAH kulapAlikAH, tadA prakAzaM prAsarane svairaM zaziprabhA iva tamaujjhitAH // 3 // [4 juvANa rAmAhi]-yUnAM rAmAbhiranantarAyaM vihartukAmAnAmanantarAgam , akarot tAvat sarasApi sAyaM virAmavatIti nizA viSAdam // 4 // [5viDhatta-ratta]---vidhRtaraktapraNayA vivakrA vikasitendIvaraprabhA viTeghu, vidagdhanArINAM vilAsadRSTiH apatat no paarthivkhddgyssttiH||5|| [6 kAUNa bhoaMdhazra]-kRtvA bhojAndhakacakravartinaM prajAnAM rakSitAramugrasenam , amocayat mAtApitarau tataH sa kArAgRhAtkamalAsahAyaH // 6 // [7 sahaggao Ne ]-sahAgraja enau samupAsaran snehabASpAvacchAditAkSipakSmANau, cakAra dIrgha kumAraH praNAma svanAma saMgRhya vRSNivIraH // 7 // [8 digghAuNo hoha ]-dIrghAyuSau bhUyAstaM cirasya vatsau yuvAmiti bASpaskhalitAkSarAbhiH, AzIrbhiH avardhayat devakyA samaM khalu sa Anakadundubhirenau // 8 // [9 ekassa saccha ] -ekasya svacchasphaTikaprakAzamanyasya 1 [prasaranti ]. 2 TdegrAyam . 3 [ karoti ]. 4 . viteSu. 5 [ patati ]. 6 [ mocayati ].7 // tatosau. 8 [ vardhApayati ]. 9 dundubhiH. 10 // svacchaM.

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-saMskRtacchAyA bhinnAJjanamaJjalAbhama, marcamAnojjvalavanyamAlaM vakSaH samAliGgat tayostAtaH // 9 // [10 tado samAgacchia]-tataH samAgatya gAndineyaH kRtapraNAmaH kramazobhitAni, kathAnubaddhAni kumArayorvacAMsi samajalpat maJjulAni // 10 // [11 aaM khu]-ayaM khalu sa yasya indranIlanIlaM vakSaHsthalodbhUrNanazIlavanyamAlam, caturbhujaM vigrahamagrabhAge jAtasya nanu apazyata prekSaNIyam // 11 // [12 ghetUNaM jaM]-gRhItvA yaM saMsmararAtrimadhye tava taratastaraGgavatI, kUlAntAtikrAntajalApi tAvajavAnAM laMghayat kalindakanyA // 12 // [13 tappammi jaM]-talpe yaM sthApayitvA gopikAyAH pratyAnItA zaure tvayA sutAsyAH, kAryAnurodhAdgurutvaM no jAnanti mUlyasya hi vikrayeSu // 13 // [14 imo khu so]-ayaM khalu sa eva stanapradAyAH stanyena pItenApi pUtanAyAH, tRSNApratIghAtamalabhamAnaH prANAnapi yo durlalito'pibat // 14 // [15 eso khu so ]--eSa khalu sa nandagRhezayena yena tRNAvartadaityavIraH, kRto'bhavannapi sa cakravAtaH kRtAntabhUmIsarazcakravAkaH // 15 // 1 [ samAliGgati ]. 2 [ saMjalpati ]. 3 [ pazyataM ]. 4 T jaGkenAlayyat, 5 [ laGyA ]. 6 // karmAnu.7 ' cakravAkaH

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- caturthaH sargaH [16 sattUNa savvaM ]-zatrUNAM sarva muSNAtu garva kutaH khalu bandhUnAmapi ballavAnAm, iti stuto'yaM kila gavyacoraH prahAsazIlaiH suraiH so'yam // 16 // [17 jo cea mAA ]-ya eva mAyApraNibadhyamAnaM janaM vimocayati bandhanAt , sa eva mAtrA mahAnubhAvaH ulUkhale abadhyate sa khalu eSaH // 17 // [18 bhaggo]-bhagno nanveka eva bhArgaveNa purArjunaH zaure sahasrabAhuH, anena sahasrAdhikadIrghazAkhAbAhvorbhagnaM yugamarjunayoH // 18 // . [19 paAraaMtaM ni]-pracArayantaM nijagozatAni parAbhavituM kila saMpravRttaH, bakAsura enaM khalu svayaM praNaSTastamisrAsaMgha iva sahasramayUkham // 19 // [20 saussa rUveNa ]--zayo rUpeNa svayaM zayAnaH pravRddhana jaTharasthilena, aghAsuro'nena hato hatAzaH sa gulmarogeNeva karmadoSAt // 20 // [21 mAA-baleNa ] --mAyAbalenemamarbhakamudbhamayituM yaH prAkramata sa svayameva vaJcito'sya, mAyAmbudhau gabhIre patito virizcaH prAptaH enameva zaraNaM kabalArdhapANim // 21 // [22 buMdAvaNammi ]-vRndAvane yamunApuline ramye govardhanAdrizikhare ca hAbhe, gopAlabAlakulalAlitakrIDitAni anena bahUni divasAni khalvatikrAntAni // 22 // 1 M mAtrA. 2 [ badhyate ]. 3 [ doSaH ].4 [ prakramate ]

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86 - saMskRtacchAyA [23 NeNaM gheNua]-anena dhenukagardabhaprabhRtervargasya durgarvazIlaM ceta eva balena tAlavipinavyAjena dhRtaM balAta, pIto nirbharatatphalAmbucchalato lokAnAM zokAgamaH zatruprANamiSAtkhalu sAdhu pRthivIbhAraH samuddhRtaH // 23 // [24 parirakkhiumaMga ]-parirakSitumaGga dhenukaM tvaM pracaran vihaMsi dhenukaM kim, kathaM vizvasimastvAmiti rAma prahasan kila vyAharat kRSNaH // 24 // [25 kAliAhi ]-kAliyAhiviSadhUmalatAbhiH kAlikAbhigaMganamiva karAlam , yAmunAmbu vyaracayat vizuddhaM jAtu nandatanayaH zaradivai // 25 // [26 pADhatto phaNirAa]-prArabdhaH phaNirAjaparvataphaNAzRGgeSu pAdau samaM zIghra nikSipya nartitumayaM pratyUSasUryopamaH, AtAmrAtapazobhapItavasanaH sAnandavRndArakazreNInetrasarojarocanaguNodAmaH khalu dAmodaraH // 26 // [27 jhaNajjhaNia]-jhaNajhaNitanUpuraM caraNapallavAnodanAnamatphaNimastakaM kramaprazithilakAJcIlatam , calacchikhipicchikAvalayaramyadhammilbhramajhamaracchaTam anaTa bAlagopAlaH // 27 // [28 galulAhi se ]--garuDAdasmai galitagarvazAline" abhayaM punar adizat eSa bhogine, ruSTA viSaM yadyapi sAdhavo janA amRtaM khalu te tathApi nAma tuSTAH // 28 // 1 [ vyAharati ].2 [ viracayati ]. 3 T zaradIva. 4 [ naTati ]. 5 M gavyazAline, T zAlino. 6[ dizati ]. 7T bhoginaH.

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- caturthaH sargaH - [ 29 NAa-jovvaa ] - nAgayauvatasamarpitaistato nAgahAranika bhUSitaH, eSa bhAti' harinIlazyAmalaH tArakairiva zubho nabhaH pathaH // 29 // [ 30 suSpaMtesuM gova ] - svapatsu gopagovRndeSu dIpyamAnastato niSpatan davAgniH, sadyo'nena apIyeta vidyudAbhaH sarvApAyo bhavati lokottarANAm // 30 // 87 [ 31 govAaMto goulaM ] - gopAyan gokulaM kAmapAla: gopAyamAnaM kaMsamRtyaM daityam', AkAMkSantaM vipralambhaM pralam ruSTo duSTaM muSTayA piSTavAn // 31 // [ 32 jaNA-salile ] - yamunAsalile kadApi yA yuvatayaH kila krIDanam akurvan, hRdayAnIva nirmalAni tAsAM vasanAni amuSNAt vAsudevaH // 32 // [ 33 raNNe jaNNe ] -- araNye yajJe kuhacinmahite bhojanaM yAcitaiH bhUdevaiH kila pratinirAkhyAto dIkSitaiH, bhaktAbhyaH sarasamadhuraM sAdaraM cApi teSAM bhAryAbhyo alabhataM tadayaM muktimAbhyazca adAt // 33 // [ 34 eso khu NaMda-pahudissa ] - eSa khalu nandaprabhRteH purandarAt bhaktiM nivRttya akarot girIndrAbhimukham, AkRSya divasaH kumu dAkarAt bhRGgasya dRSTimiva paGkajavATAbhimukham // 34 // [ 35 sajjo gajjaMta ] -sadyo garjadvidyudujjvalajaladaghaTAgarbhaprAgbhArasthUlaprabhraSTa spaSTaviSTambhitabhuvanataLAM vRSTimabhyApatantIm, gopAla 1 T eSo'bhAt . 2 [ pIyate ]. 3 r bhRtyadaityaH 4 [ kurvanti ].5 [ muSNAti 6 [ labhate ]. 7 [ dadAti ]. 8 [ karoti ]. 9 M prabhraSTAspaSTa.

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88 -saMskRtacchAyA eSa govardhanamacalavaraM tatkSaNamutkhanan chatraM kRtvA gRhItvA ca karakamale Dimbhako arautsIt enAm // 35 // . [36 NivvANa-gavva ]-nirvANagarvazikhiparvatavairijuSTaM tuSTaM svayaM snutapayodharaniHsRtaiH, enaM payobhiH surabhirabhiSiJcantI govindanAma suzliSTataram akarot // 36 // [37 aha khu NaM]-atha khalvenameva kAJcanakumbhIvigalitaiH kilAbhramuvallabhaH, suranadIsalilaiH nyaSiJcat pramodazIlo mudira iva zAradaH // 37 // [38 jAu dAva jauNA]-jAtu tAvadyamunAjalamagnaM vAruNeNa hRtaM puruSeNa, acyuto bata pracetoniketAt pratyupAhara nandamamandam // 38 // [39 joNhA-vicchaDDa ]-jyotsnAvicchardapratyunmRSTazazimaNisAndraniSyandazIte vRndAraNye kalindapriyaduhitamahAtIrtharodhaHsthalISu, velAzailAnilAlolitasarasarasAlAgralagnAlivarge kAle sati vasante akarot dhanamaya kezavo rAsakrIDAm // 39 // [40 uvahiantaraTTiA]-upasthitavidagdharuyAvalizliSTagoSThIgataH prapaJcitavipaJcikAmuralizRGgazRGgAritam, viDambitaviTakramaM vimala' maJjasaMjalpitaM taraGgitasurAGganam akarot bAlakaH khelanam // 40 // [41 rAsa-kIlAsu]-rAsakrIDAsu brIDAvikalabajavadhUnetrendI 1 [rupaddhi ]. 2 [gopendra.].3 [karoti ]. 4 [niSiJcate ].5 [ pratyupAharati]. 6 [ karoti ].7 [ karoti ].

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- caturthaH sargaH baramAlAprAlambAlaMkRtAGgo mRduhasitasudhAsiktavaktrendubimba:, saMgAyannaTan sarasataramayaM saMcaraJchayAnaH sarvAsu dikSu adRzyate sakalajanAnandano nandanaste // 41 // [ 42 sohagga-gavvira saubhAgyagarvazIlamanasAM nItambinInAM prAptastathA bahutanurapi parokSabhAvam, eSa tamaH prakRtInAM na darzanIyaH sUrya iva vistRtaprabho'pi vibhAvarINAm // 42 // 89 [ 43 virade made ] - virate made virahiNInAM tAsAM tataH prAkaTayat vigrahamayaM kumAraH, prazamaM gate zizire tatkSaNaM kusumaM prakAzayati hi cUtapAdapaH // 43 // [ 44 saMkhohI saMkhaUDo ] --saMkSobhI zaGkhacUDo'pi sa vRSabha-tanuH kiM cAriSTo gariSThaH viSTo ruSTena kezyapi ca turagavapurvvaMsita; kezavena, vAmArambhI sa vyomo'pi khalu paritruTitaH zaure vairidrumANAM dAvAgnirnandanaste kimiha hi bahunA sAMprataM jalpitena // 44 // [ 45 ANAio ghaNuha ] - AnAyito dhanuryajJacchalenaiSa kaMsena tena dhruvamAtmanibarhaNArtham, zAkhAgrasaMgharSa saMghaTito hi vahniH zUnyIkaroti tarasaiva hi kiM naiM vRkSam // 45 // [ 46 akkUrANaNa-sippi ] - akrUrAnanazuktigarbhagalitAM tAM sUktimuktAvalIM gRhItvA akurutAM hanta pitarau karNayostau maNDanam, atyArUDha hRdirAvanatArIrAnyaJcatpiJchAJcalaM gADhaM kiM ca paryasvajetA bahuzo mAyAprajaM sAgrajam // 46 // 1 [ dRzyate ]. 2 [ prakaTayati ]. 3T ki nu . 4 [ kuruta: ].5 [ parizvajete

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- saMskRtacchAyA [ 47 pAleAala- moli ] - prAleyAcalamaulighUrNana zIlamahAkallolahallo halasphAroDDAmara cArucAraNadhunIsvacchAbhirvatsau ciram yuvAM jIvataM pUrNimAmRtamayUkhonnidrajyotsnAjharIpANDityacchiduracchavibhirmahitau kIrtibhirdhAtrItale // 47 // 10 [ 48 ia mudia - maNANaM ] - iti muditamana sastiyorAzIbhistAvaccha ratsamaya zrIbhizcandrasUryAviva zUrau, samadhikamabhirAmA rAmakRSNau prasannau sakalajanamanojJAM lambhitau kAmapi lakSmIm // 48 // - [ iti rAmapANivAdakRte kaMsavadhe caturthaH sargaH ] [ [ duvvAha-pAaDa ] - durvAhaprAkRtapayonilaye gabhIre bAlAnAM vAhitumidaM khalu jAnIta rodhaH, natryaM hi kAvyamiha kaMsavadhAbhidhAnaM sarve'pi bhavyamatayaH parizIlayata // 48* 1 // ] ' 1 Wanting in MT. [ zrIgurupAdayornamaH | zubhamastu ] [ samAptamidaM kAvyam ]

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siloasaI 2.25 2.8 h 1.35 3.36 3.27 3.17 m m 4.45 >> >> llb` sm 3.40 3.28 aa khu so jassa ai bAlaa rAa arANaNasippigambha aha dAva Nivarassa aNaNNaNAhA avihA aNiaMtaNajaMta aNusappirachappa aNNatto jai Na adiTTapAsaDia adibhUmimuvAgaaM adihINa kuNaMti abhaNijavauggameNa amuddhaaMdammi va avaccajugge ciramakkhade avasaM savasaM pi asaMkasaMkealadA aha khu NaM cia aha cAvagharAhi aha jaipai sA aha No hiaecchiAi aha diahaviAsa aha pekkhai vaMkadaM aha pphuDaM kAhii aha mAliadiNNa ahamehimi dAva aha rAkkhibhaDe 4.11 aha vAharai mha 2.34 aha hodu sahemi : 4.46 ahihodumaNassa 3.59 ahIramAhIraNibiNI ahekkadA caMkamiro 2.53 aho samAaNNi aMbaDhappahadapahaNa aMbaho paravaisAsaNA AaMbo kuNai diNesa 2.20 2.50 ANAio dhaNuhajaNNa 2.5 AdihA Navari a 1.36 AmelaM kuvalaaputva 1.12 Aliddho diahavaissa AvijjhA ravikiraNehi 2.23 1.54 ia tappaviiNNa ia taM piadasaNaM iappalAvaM pia 2.14 ia bahuvitthaAi 2.29 / iamuNNamiuccakeu 1.61 iamuNNamiuccasoha ia mudiamaNANaM 1.29 ia samuasaMbhAra 2.1 / ia so kaDu bhAsiUNa 2028 iAlavaMto saha 2.36 / idaM vao bhaNNai sm 2.17 2.30 4.37 2.60 2.41 2.49 4.48 3.60 1.28

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--kaMsavaho- .. 3.3 2.44 1.13 4.6 4.25 2054 3.18 3.54 3.13 3.32 2.13 imassa kajassa sarIra imAhi kuro Na paro imiNamhi jio imo khu so cce iha kaMcaNageha iha koccaNa picchilammi iha caMdamaNIghara iha vappamaNippahA iha subvai NinvahaMta uhaMto karajualagga ummillAvai kamalAaro uvahiatarahiAvali uva No bhuvaNa uvvaMtavakhuDiakaDaMbu usammi saMmajada ekassa sacchapphalia evaM se suNia vaAi evaM siM thuivaaNa eso khu NaMdapahadissa eso khu so gaMdaghare kaaM khujaM vA kaA Nu kaNhassa kaA Nu pINatthaNa kahaM ho kaDhiNamaNo kaDtA karajualeNa kaDato galapahaNita kaNaAalasoha kamalAsahAya kamalAsana 1.26 / karaMbueNaM parigaNhiUNa 1.40 kallANa kamalasirI 2.21 kasaNovalakeli 4.14 kaha khu se kasaMvaha kahaM paricemu sarIra 2.52 kAUNa bhoaMdha 2048 kAliAhivisadhUma 2046 kimettha amhe kuNimo kiMcemo jalahijalammi kIlAe lagai harI kIlAselaggalagga kujjhaMtaM gaamahakuMDalI 4.40 kuDilacchi vale 2.40 kuMbhaM to kuviamaNo khaNaM ruvaMtaM 1.58 khaNe khaNe jhANa 4.9 gao sa kAlo galulAhi se galia 3.21 gaMdhavvA Na kimattha 4.34 gehaM tA gahiraarumha 4.15 govAaMto goulaM ghettUNa jaM samhara 1.52 gholaMtujala vaNamAla caasthi bhoAhiva 3.48 cANUraM calaNajuammi 3.56 cANUro kaiDhavasUaNaM 2042 cibue karapallaveNa 4.48*2 / jauNAsalilammi 1.51 4.28 2.58 m 4.31 4.12 3.38 1.24 3.50 3.42 m` 2.18 1.63 onal

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-siloasUI 93 jauNAsalile kaA vi javajiapavaNeNaM jahiM ca buMdAvaNa jahiM du sA Nillua jAu dAva jauNAjala jAo de jausua jAhe so nivaDai vaja jiaM jiaM me jujhaMtA kadi vi hadA juvANa rAmAhimaNaMta jo cea mAA joNhAaM tuhiNaarassa johAvicchaDDupaccupphusia jhaNajjhaNiaNeuraM jhINAaM vihaDaNa gacaMti pphuDamaccharA NavaraM Na lahissai NahappahAliddha Na hu saMbhariuM pi NAajovvaaNiapaMkavisohaNa NiaMbiNIo Niulola NidANaM kumuiNi NiratthasaMgA NiamaMta NivvANagavvasihi Nisijjhae mAhava peNaM gheNuagaddaha tado a bhoesabhua 4.32 | tado samAgacchia gaMdiNeo 4.10 1.62 tappammi jaM TAvia 4.13 1.50 taraMto taM to taruNa 1-64 1.46 tA jujjhaM kuNaha duve 3.45 4.38 | tikkhaMsupphuDahari 3.5 tuhAvaloeNa bhuvIa 1.10 tUraMto virahavisUraNA 1.17 thaNi kimiNaM kudo 2.35 4.4 digghAuNo hoha cirassa 4.8 4.17 duvvAhapAaDapao 4.481 3.6 | dharAhiNAho dhaNuha 1.22 4.39 4.2 4.27 dhibbolapparusa 3.47 paAraaMtaM Ni 4.19 paJcUse cia Ni 3.22 3.58 paccUse paramaNasalla 3.1 2.4 paDhamaM kuDilA vi 2.16 2.44 pamoatUraMtapada parado suNa thANiila 2056 parirakkhiumaMga gheNuaM 4.24 palaMbabAhussa vahassa 1.21 1.45 pavaTTae cAvamahe ti 1.27 pavittacArittavilova 1.16 pahANapANANi khu No pADhatto phaNirAapavvaa 4.26 1.18 pAleacchaitaNuNo 1.24 4.23 pAleAalamoli 4.47 puvvAsAjuvaisava 2.3 4.29 2.9 w w 3.20 For.Private &Personal Use Only

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-kaMsavaho 4.41 1.32 3.55 1.48 2.47 3.2 1.60 4.5 3.10 2.22 1.15 phalihovalakuTTima phuraMtadaMtakaMti basaMtu ppaidikaDU vijimhatumhanbhumaA binbhANaM visamahiaM bImaMtA vimaabhaDA bujjhatI buhapaDihA bhaggo Nameko cia bhiMgAli pulai bhuaMgabhoAkai bhuappaAvo bhu bhuvaMti govaDaNasela bhUvAlo cia kusalo mauhAsamaNohara mauMdaveNUdaraNita maNidIvasihA mattu kiM jamaghara mamammi tuDaM vihiNA mallehiM saha maha maha mANiNi kaja mahaNijamahujalaga mahiaMbahugaMdha maMcaggahiaNiabhattu mAAbaleNamimamanbha mihirammi via muNAmi teeNa khu raAi rehAraha raNe jaNNe kuhai mahie 2.43 | rahammi hakkAria 1.42 rAsakIlAsu vIlA 3.52 vaaM vaesaggasarA 1.57 vacchammi ppavaDia 3.53 vaNANilA jattha 3.8 valahIvalaesu viasaMtamuhAraviMda 4.18 vioasoumhala viDhattarattappaNaA 1.43 | virade made virahiNINa 1.31 visarukkhapasUNaehi 1.49 visuddhasIlaNa viNamma 3.43 | visuddhasIle vimaa vRMdAvaNammi jauNA veraM je hiaITha 2.32 saussa sveNa saraM 3.29 sacchaMdaM churau Nihela sajo gajaMtavijjujala 3.44 sa gaMdagovo vi 2027 sattUNa gavvaM musiNAu 2.31 samasthaloassa pAsa samuvaTia bho sarasIaravAhiNo sasalAhasilo 2.37 sahaggao Ne samuvAsaraMto 1.11 saMkhohI saMkhaUDo saMjhaM to viaajavA 4.33 / saMbhiNNappahamiNamIsi 4.22 sh 1.47 4.20 mh 4 .33 h s n m s 2.39 h 2.57 4.7 4.44 3.23 1.4

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-siloasUI 1.34 3.25 4.42 3.26 siaehi siehi siNiddhaghaNakuMtala sirIa NAho sihi suumAramiNaM ca de suNa punvaasuMdarI suNa suMdara sippaAriA suNAhi tAseNa saA suppaMtesuM govago 2.10 / suhaM rahammi ci soeNaM bahudiahe 1.1 sohamgagAviramaNANa 2.16 sohaggAhaaNaaraMgaNA 2055 2.15 | hariNIlasiNiddha 1.20 harissa rUvaM cia 4.30 hossaMtiM tuha muha 2.24 1.41 wwwmornar

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Page #148
saddakoso This Glossary is a select collection of words that would be useful to a student of Prakrit vocabulary. Pronouns, pronomina forms, proper names and nouns & roots which have retained their Sanskrit forms are usually ignored. Important roots, primitive and causal, are indexed; but their detailed forms are not given. Some interesting and peculiar forms are noted without giving the meaning. Some unusual and difficult words are included. Only one occurrence, usually the first, is noted. aaMti, 3.26, see Notes. ai = ayi, 2034. akkhada ( akSata ) 1.12, safe, unwounded. akkhara (akSara) 1 35, letters, words. akkhiva - AkSip (ghA.) 2.36, to insult. agga (agra ) 1-46, tip, top. aggaa ( agraja ) 1.3, elder brother. aggaamma ( agrajanman ) 3.30, elder brother. aggao ( agrataH ) 103, in front. aggado ( agrataH ) 1.5, in front. agga ( ani ) 1.29, fire. aggasara ( agrasara ) 1.32, one who moves ahead. 7 accharA ( apsaras ) 2.42, 4 heavenly nymph. acchera (Azcarya ) 1010, surprise, wonder. aja ( adya ) 1.17, today. ajjuNa (arjuna) 4.18, see the Notes. aTTahAsia ( - hasita ) 3.59, loud laughter. - aNa ( jana ) 1.51, also jaNa. aNaMtarAaM ( anantarAyam, -rAgam ) 404, see Notes. aNAmaa ( anAmaya) 109, health, well-being. aNuvajja - passive base of anuvad. 1.46. aNusappira (anusarpaNazIla), 2.12. aNusaMga ( anuSaGga ) 2055, ne cessary consequence.

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98 - kaMsavaho aNNato= anyataH, 3.29, see | ammelAva-AmreDaya (ghA.)3.18, Notes. to repeat. aNNahA (anyathA) 2022, other- alallaa 2.56, see Notes. wise. Allia 3.16,see Notes. aNNA (ajJAtam) 3.8, un- avaJca(apatya)1.12,issue, son. knowingly. avaDa (avaTa) 2.52, a founatuccha (atuccha-ka) 1.25, ____tain. not insignificant, great. avadAa ( avadAta) 2.9, pure. anta (Atman) 4.45. avasa (avaza) 2.23, unsupatti (bharti) 3.53, suffering. ported, helpless. asthi (asthi) 3.55, bone. avassaM ( avazyam ) 1.40, neadi (ati) 2.20. ___cessarily. adihi (atithi)2.50,a guest. avasesa (avazeSa) 3.55, remappA (Atman) 1.5, self, ____nant. one self. avihA (avidhA) 1.37, see apphAla ( AsphAla ) 3.47, the Notes. striking. asaMbhamaM ( asaMbhramam ) 1.5,, abbhava (arbhaka) 4.21, child. without confusion. abmabhu (abhramu) 4.37, see assu (azru) 1.35, tears. the Notes. ahake = ahaM, 2.6, see Notes. abbhahia(abhyadhika)2.9, more. ahara ( adhara) 1.52, lower abbhAvaDa-abhyApat (dhA.)4.35. lip, also 1.54. abhaNija (abhANatavya) 2.5. aharo? (adharoSTha)3.11,lower amaa (amRta) 1.17, nectar; lip. -moha (-mayUkha), 1.17, the ahikkhA (abhikhyA) 1.61, ___beauty, glory. ammaka (asmAdRza?) 1.37, see ahiNAha (adhinAya) 1.22, the Notes. supreme master. moon.

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- saddakoso - ahipphusia ( abhimRSTa) 2.17, | aMbhoavvAa ( ambhojanAta) 3-30, a multitude of lotuses. anointed. ahida ( adhipa ) 1-24, the ruler, king. ahilAsa (abhilASa ) 2.26, longing. ahisAriA (abhisArikA) 2044, see Notes. ahIra (adhIra) 1.56, nervous. ahuNA ( adhunA ) 2.22, now. aMkaNa ( aGkana ) 3.19, a mark. aMkaNatthalI ( -sthalI ) 2.38, open space of the yard. aMga, 4.14, see Notes. aMgaa ( aGgaja ) 1-44, love, passion. aMgaNA ( aGganA ) 1.3, woman. aMgahAra 2.54, a gesticula - tion. aMkida (aGkita) 1*4, marked, imprinted with. aMcala 1.57, skirt, border. aMtarA 1 7, in the middle. aMteDara ( antaHpura ) 2.15, harem. - aMda ( -candra) 1.36, moon. aMdhAra (andhakAra) 3.15, dark ness. aMbuDI (ambudhi) 1.8, ocean. 99 A Azrama ( Agama ) 1-14, com - ing, arrival. Aara ( Adara ) 1.25 regard, respect. Aallabha (D. Ayallaka 1) 2020, longing, uneasiness. Aava ( Atapa ) 1047, heat. AaMba (AtAmra ) 3.17, red dish. AiNNa (AkIrNa) 1.43, covered. Akai (AkRti) 1.43, figure, shape. ANAia ( AnAyita ) 4045, brought, invited. Amela (ApIDa ), 3.28, see notes. Amoa ( Amoda ), 2051, fra grance. Araha - Aram (dhA. ), 3054, to begin. Alava - Alap (ghA.), 1.33, to talk. Aliddha (ASTi ), 1044, see notes. AlI, 3.10, a line, row. Aloa ( Aloka) 3.60, sple ndour.

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100 -kaMsabaho Avijjha (ASiddha ) 3.14, ukkhada 1.35, see the Notes. ___pierced. | ukkhA -utkhan (dhA.)3.34. AvuNa-AvR (ghA.) 1.47. uggaamma (upakarman ) 3.30, Asava 2050, flowery juice. one of fierce acts. AsAa (AsvAda) 1.47, taste. uggAjaa (udgarjita) 1.49, Asi-AsIt 3.47. ____thunder. AsI (Azima), 4.8, a ble-| uggUria (ucUrNa ) 3.58, ssing. ___excited. Aha (Abha) 4.9, like, rese- ugghosira (udghoSaNazIla) 2.53. __mbling. ucchaia ( avacchAdita) 4.7, AhIra (bhAbhIra)1.56,see Notes. covered. ujjala (ujjvala) 1.17, briiappalAva (itipralApa) 1.55. ght, shining. iavittha 2.35, see the | ujihANa-ujihAna, 3.20, see Notes on 2.35 and 1.28. Notes. iyana-Iz (dhA) 1.24, to see, ujjuI (RjvI ) 2.18, straight. ___ to attend. uTuMta-uttiSThat, 3.54. ikkha Na (IkSaNa) 1.5, look, eye. uDDAmara 4.47, excellent. itthiA (strI)2.14, a woman. udaa (udaka) 2.50, water. idara (itara), 3.5, other. uddAma 3.48, wild. iha (ibha ) 3.40, an elephant. uppala ( utpala ) 3.13, a -iMdha (cihna) 2.54, a sign, lotus. signal, see Notes. upphusia (unmRSTa) 2.29. ' ubbhaDa (udbhaTa) 2.52, furious. Iria ( Irita)-1.25, uttered, unbhaDassama ( udbhaTazrama) 1.16, pronounced. excessive or hard labour. Isara ( Izvara ) 3.27, lord. ummillAva-unmIlay , 3.13, to open. uara ( udara) 1.47, hollow, ummuha ( unmukha ) 1.28, lookstomach. ing up or at, following.

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- saddakoso 1.1 ummesa (unmeSa) 3.21, bloom-1 ekkavAraM(ekavAram)2.6, once. ing. ehi (idAnIm ) 3.6, now. umha (USman ) 1.47, heat. ettha (atra) 2.51, here. umhala uSmala) 1.60, hot. evvaM-evaM 3.21. umhANaM-USmANa, 3.14. erisa ( IdRza) 1.26, such, ura (uras ) 3.17, chest. i similar. uroa (uroja) 2.27, breast. o ulUhala ( ulUkhala ) 4.17, ojhara (D. nijhara ), 2052, a. mortar. ___stream; see Notes. ulla ( Ardra ) 1.44, wet, oNaa (avanata)4.46, bent. moist, see Notes. olaMba-avalamb (dhA.) 2.42, to ullAsa 3.6, iash. ____ assume. uva ( meaning pazya) 2.40. ollira (ArdrazIla) 2059. uvala ( upala) 2.43, stone.. ovAhia (apavAhita) 2.40, uvvaMta (udvAnta) 3.31, over- ___driven away. ____flowing. osara (avasara) 2.27, leisure. uvvarA (urvarA) 3.28, see oha (ogha) 2.42, a stream, Notes. a party. uvAsara-upasar (dhA.) 2.60, ___to approach. kaaM (kRtam ) 1.14, enough. usa (uSas ) 1.58, morning. kaaMta (kRtAnta) 1.39, the ussiTTa ( utsRSTa) 2.59, dis- god of death. charged. kaiDhava-kaiTabha 3.42,see Notes. kaja (kArya) 1.19, work, Usava (utsava) 1.18, festivity. __mission, duty. kaTuM (kaSTam ) 3.49, alas. ei-eti 2.19. kaDa (kaTa) 2052, the temples eka (eka) 1.17, one of an elephant. unique. kaDakkha (kaTAkSa) 1.44, sideekadA (ekadA) 1.3, once. glance.

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202 - kaMsavaho kaDappa ( D. samUha) 2.46, / kalA (kAlikA) 2.17, a bud. Inster, mass. kalAva (kalApa) 2.49, a band. kaha reS (dhA.) 1.38, to kalla ( kalya ) 3.3, dawn, drag. ___morning. kaNi? (kaniSTha)3.59, younger | kallANaM (kalyANam) 3.3, Hail, brother. ____welfare. kaNINiA (kanInikA) 3.10, kavaladdhapANi 4.21,see Notes. eye pupil. | kavittha (kutarka ?) 1.28,2.35, kaNNa ( karNa) 1.35, ear. ___see the Notes. kaNha (kRSNa) 1.52. | kavola ( kapola) 1.52, cheek. kaNhabhoI ( kRSNabhogin) 2.3, a| kasaNagiri (kRSNagiri ) 1.62, black snake. see Notes. kaNhimANa ( kRSNiman ) 3.4, kasaNAala (kRSNAcala) 2.24, blackness. ___dark mountain. kattaa ( kartRka) 1.26. kaha-katham, 3.44. kadi-kati, 3.51. kassavi (kAzyapi) 1.61, see kappa (kalpa) 2.24, similar. Notes. kamaNI (kamanIya) 2.19, plea- kaMcI ( kAzcI) 4.27, girdle. sant. kaMti (kAnti) 1.42, radiance. kamalAara (kamalAkara) 3.13, a kaMdoTTa (D. kandottha) 1.41, 4 ___ lotus-pool. ____ blue lotus; see Notes. karagga (karAra) 1.33, finger. kA-kR (dhA.) 1.29, to do. karaMbia(karambita)3.32, inlaid. | kArAghara ( kArAgRha ) 4.6, a karaMbua ( kara+ambuja ) 1.8, ____prison house. lotus like hand. kAria (kArya), 1.48, duty, kalaala ( kalakala ) 3.57, function. murmer. kAlaNa (kAraNa) 1.14, reason. kalaaMTha (kalakaNTha) 2.55, a kAliA (kAlikA) 4.25, a cuckoo. ____dark cloud.

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- saddakoso 103 kiNo [prazne] 1.14, a parti- kulisa (kuliza) 3.28, a ___cle of interrogation. thunderbolt. kira-kila, 3.44. kuvida (kupita) 2.2, angry. kiMNara 2.58, see the Notes. kuhA-kuhacit 3.6. kiMdu-kiMtu 2026, see Notes. kuhaNA(kuhanA)3.25,treachery. kIlaNa (krIDana) 1.45, sport, kuMTheara (kuNThetara) 2.59, im___play. petuous. kIlA (krIDA) 2.59, sport. kuMDalIkaa (kuNDalIkRta) 3.32, kIlaa (krIDita) 2.29, sport. formed into a circle. kua (kuca) 3.12, breast. kuMtala 3.56, lock of hair. kua-kuc (dhA. ) 2.37, to: kuMbhi (kummin ) 3.27, an contract. elephant, kuaMDaa(kodaNDa-ka) 1.57,bow. kUra (krUra) 1.40, cruel. kujjha-krudh (dhA.) 3.28. keu (ketu) 1.35, banner, kuTTima 2.43, pavement. __fiag. kuDilacchi (kuTilAkSi) 2013, kezciraM-kiyacciram 3.36. ___having erooked glances. kerava ( kairava) 1.10, a kind kuNa-kR (dhA.) 1.38, to do. of lily. kuNAi-karoti, 2.22. keraviNI (kairaviNI) 2.28, a kuduullI (kutukavatI) 2.49. water lily. kuppa kup (ghA.) 3.46. koila (kokila)1.13,cuckoo. kumara (kumAra) 2.2, a boy, kocaNa (kacana)2052,55,57, prince. ____ somewhere. kumAla (kumAra) 3.29, a boy, kouhalla ( kautUhalya) 2.31, ____prince. __curiosity. kumuiNI (kumudinI) 1.64, a kozikacit, 2.54, 3.16, night-lotus. ____see Notes. kulavAliA (-pAliA) 4.3, koDara (koTara) 3.39, hollow. highborn girl. koDi (koTi)28, point,

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1.4 - kaMsavaho koima (D. kuDya ?), 1.5, khuDa-truTa (ghA.) 2.34, to break. som hing curious or khuDia (truTita) 3.19, broken. wonderful, see Notes. khudda (kSudra) 3.14, mean. kodua (kautuka) 1.24, curio- khelaNa (zvelana) 4.40, sport. sity. komuI (kaumudI) 2.19, moon- gaa (gaja) 2.51, elephant. ___ light. gaaNa (gagana) 2.45, sky. koha (krodha) 3.56, anger. gaha (gati)3.4, gait. kotthuha (kaustubha) 1.36, see gaNDa-graha (dhA.) 1.2, to take, ____ the Notes. ___to receive. kkha ma (kSaya ) 1.29, ruin, gatta ( gAtra ) 2.14, body, ___destruction. ___limbs. -kkha la-skhal (dhA.) 1.8, stum- ! gadaha (gardabha) 4.23, see Notes. ble, to clash against. gamai-gamayati 3.36. khuha-kSum (dhA.) 1.44, to gavva (garva, gavya) 4.16, see rouse, to distutb. Notes. | gasa-as (dhA.) 1.29, to catch. khama (kSaya) 3.6, destruction. gahira (gabhIra) 2.54, deep. . khaNa (kSaNa) 1.5, moment. gaMdhava (gandharva) 2.58, Gandhakhama (kSama) 2.27, able. ____rva, or a songster. khalaNa (skhalana) 2.40, stumb- gari? (gariSTha) 3.59, promiling. ____nent. khaMma ( stambha or skamma) 1.7, a garuattaNa-gurutva, 4.13. pillar, post. galula (garuDa) 3.56, an eagle. khippaM (kSipram ) 3.05, sudde- gavakkha (gavAkSa) 2.49, a ___nly. ___window. khu (khalu) 1.2, indeed, in gimha (grISma) 1.47, summer. fact. gummaroa (gulmaroga) 4.20, a khajiA (kunjA) 2.18, a disease of spleen-enlarhumpbacked lady. gement.

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- saddakoso 105 goura (gopura)2047, gate. | camma (carmana)3.54, a shield. gorava (gaurava) 1.19, great | caramAala (-cala) 2060, wes___ness, importance. tern mountain. gova ( gopa) 1.1, cowherd. calaNa (caraNa) 1.2, foot. govaDaNa ( govardhana ) 1.49, cavala (capala) 2.5, unsteady. name of a mountain; see caveDiA (capeTikA) 3.32, 3 ____ the Notes. govAyaMta-gopAyat, 4.31 ___slap.. goviA ( gopikA) 1.35, cakamira (caMkrama(Na)zIla) 1.3, cowherd lady. in the habit of strolling, see the Notes. ghaDA (ghaTA)4.35,a collection. caga (D. saundarya) 1.43,beauty. ghara (gRha) 1.9, a house. caMcalIa ( caJcarIka) 3.3, gharesaa (gRhezaya) 4.15 see a bee. Notes. caMdana (candramas) 1.58, moon. ghiNA (ghRNA), 1.37, cornpa- caMdamuhI (candramukhI) 2.48, / _ssion, pity. ____moon-faced lady. ghusiNa (ghusaNa) 2.13, saffron. caMdalehA (candralekhA) 2.19, ghettUNa-gRhItvA, 4.12. crescent of the moon. gheppaMtagRhyamANa, 3.47. caMdimA (candrikA) 1.42, moonghola-cUrNa (dhA.) 3.38. ___ light. gholira ( ghUrNanazIla ) 1 cAIula (cAtakIkula) 1.60, ___rolling, dangling. a flock of cataki birds. ca caatthi-cakAsti, 1.23, see cAva (cApa) 2.38, a bow. the Notes. | cAvamaha (cApamakha)1.27, bow: cakkaTTi (cakravartin ) 4.6, an festival. emperor. cAraNa, 2.58, a bard. cakkavAa, 4-15, see Notes. / cAritta (cAritra) 4.3, con. cakkAa (cakravAka) 3.9, thes duct. Cakravaka bird. | ciNha (ciha) 3.4, mark.

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-kaMsavaho cibuA (cibuka) 2.18, chin. jama (yama) 1.16, one of the cUda (cUta) 4.43, the man- means of attaining go tree. Yoga, restraint etc.; see ceTTi (ceSTita) 1.54, acti- the Notes. ___vity, behaviour. jamma (janman) 3.38, birth. zcia (eva) 1.19. jamma (jAlma)2.5, a wretch. cea (eva, ca eva) 1.19. jara (jvara) 2.23, fever. java 1.33, speed. chaha (chavi)3.24, lustre. chaDA (chaTA) 3.9, series. javA (japA) 3.23, Japa. chatta(chatra)3.27, an umbrella. Olle flower. chappatha (SaTpada) 1.46, bee. jahiTTa (yatheSTa) 1.15, as desirchiura (chidura) 4.47, exting- ed, desirable, agreeable. uishing. jahiM (yatra, yasmin) 1.46. chiva-spRz (dhA.) 1.30, to jaMta ( yantra) 2053, a waterjet. ___touch. jaMpa-jals (dhA.) 1.7, to chara 3.19, to cover seel speak. - Notes. jAida (yAcita) 2.2, begged. jAu (jAtu) 4.25, once. jaa (jagat ) 1.13, world. jAuNa (yAmuna) 4.25, of the jaicchA (yadRcchA ) 1.49, chance ___ river Yamuna. jauNA (yamunA) 1.63. jauNADa ( yamunAtaTa) 1.45, jAmiNI ( yAminI ) 1.34, ___bank of Yamuna. ___night. jazcamANa-yAcyamAna, 2.4. | jAla (jvAlA) 1.31, fiame. jaDhara (jaThara )4.20, stomach. jAlA 3.33, see Notes. jaNNa (yajJa) 1.24, a sacrifice, jAhe-yAvat or yadA, 2.7. ____a festival. jia (jita) 1.17,conquered. jaNhavI ( jAhavI ) 2.43, jiNA-yena, 4.15. Ganges. jiNNati-jayanti, 2058.

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- saddakoso jimha (jijha) 3.52, deceit- | jhINa (kSINa )3.9, exhausted. ful, crooked, curved. jiMbha-jRmbha (dhA.)2.14. ThANa sthAna)2.58, an abode. jua (yuga) 3.33, a pair. . ThAvia-sthApayitvA, 4.12. juuccha-jugups (dhA.) 1.13, | Thia ( sthita ) 1.7, standing. ____to detest. jugga (yugma ) 1.12, a pair. ujjha-passive base of daha jujjha (yuddha ) 3.1, fight. (dhA.) 1.29, to burn. juTTa ( juSTa ) 4.36, resorted to. | Dajjhai-dahyate, 2-22. juvaI ( yuvati) 1.38, young | isaNa ( dazana) 3.33, a tusk. girl, maiden. DaMDa ( daNDa) 3.28, staff. juvANa-yUnAm, 4.4, bhia ( Dimbha-ka ) 2.3, a juvANA-yuvAnaH, 2048, child, boy. jeujetum, 3.40, jeTa (jyeSTha)3.50, elder bro- Nakkha ( nakha) 2.8, nail. ____ther. Nacca-nRt (dhA.)2.53,to dance. joabbhasaNa (yogAbhyasana) 1.16, NacaNa (nartana) 2055, dancing. exercise in mental con- NaDaNa (naTana)2.59, dancing. centration. NarasiMgha (narasiMha)2.35, ManjoiriMgiNa (jyotiriGgaNa)3.51, lion. ___firefly, see Notes. NaliNI ( nalinI) 2.26, lotus joNhA (jyotsnA)2.29, moon ___plant. light. Navari ( anantaram ) 3.40 jovvaa ( yauvata ) 4.29, a Naha ( nabhas ) 1.30, sky. ___number of girls. . ! Nahappaha (nabhaHpatha) 1.44, sky. joha (yodha) 3.40, a fighter. NahappahA ( nakhaprabhA ) 1.44, lustre of the nails. jhatti (jhaTiti) 1.37, suddenly. Nahovaha (nabhaHpatha) 4.29, sky. jhANa (dhyAna) 1.5, thought, | NaMcaMta-nyaJcat 4.46. meditation. NAa (nAga) 4.29, a serpent.

Page #159
108 - kaMsavaho Nia-dRz (dhA. ) 2.1, to see. / NiTTara (niSThura ) 3.46, hard. Ni (nija) 1.9, one's own. NiddA (nirdaya) 1.45, pitiNiamaMta ( nigamAnta ) 1.16, | less, unkind. Vedanta, nigama meaning NihANa ( nidrANa ) 3.16, vedic texts. ___ asleep. Niara (Nikara) 2.9, collec-NibaMhaNa (nibaINa) 4.45, destion. ____truction. Niala (nigala) 2.20, fetter. NitaNA (niyantraNA) 1.12, Nibbhara (nirbhara)4.23, exces ____sive. ___shutting up, closure. NibiNI ( nitambinI) 1.45, | Nimmala (nirmala) 4.32, clear. a beautiful woman, NimIlia (nimIlita) 1.5, NiAmaM ( nikAmam ) 3.60, closed. excessively. Nirastha ( nirasta ) 1.16, Niula ( nicula ) 1.45, a thrown off, set a side. ___kind of creeper. NirAcakkhia-nirAkhyAta, 4.33. Niujjha (niyuddha ) 3.43, fight. NirikkhaNa (nirIkSaNa), 1.18, Nieda (niketa) 2.15, an | ___ seeing, observing. abode. NirUsahaM (nirutsAham ?) 1.7, Nikama-niSkram (dhA.) 2.38, to without any movement, go out. ____ see the Notes. NikkhuDa (niSkuTa ) 2.50, a Nillaa (nirlana) 1.46, pluckpleasure-grove. ___ed, cut. NiJca (nitya) 2.52, ever, | NivaTTa-nivarta (dhA.) 1.27, to ___ constant. __turn back. Nijae-nIyate, 2.22. Nivattia-nivRtya, 4.34. Nijara (nirjara) 2041, a god. | Nivara (nRvara) 2.15, a king. Nijjhara ( nirjhara ) 3.31, NivvANa (nirvANa) 4.36, exstream. tinguished.

Page #160
- saddakoso - of taNhA ( tRSNA ) 4014, thirst. taNulaTThi (tanuyaSTi ) 2011, the slender body. uncing. taNUa ( tanUja ) 2.38, a son. NissaNa ( nisvana) 1.6, sound, tappajja ( tAtparya ) 3022, aim, object. tappaviiNNa ( tatpravitIrNa ) 2.17 given. tamappavaMca ( tamaH prapaJca ) 1.59, mass of darkness. tamappahANa ( tamaH pradhAna ) 1.59, prominent with tamoguNa; see the Notes. tamissa ( tamisrA ) 4.19, darkness. Nisijjha - passive base niSidh (ghA.) 1.18. Niseha (niSedha ) 1.26, deno noise. Nihila ( nikhila ) 3041, all, whole. 2052, Nihua ( nibhRta) 3.4 stealthy Nihela ( D. nIla ) sapphire; see Notes. NitaM niryat, 147, 2.26, see Notes. NitINaM-niryantInAM, 3.17. NiNDua ( nihuta ) 2.44, obscured. NIsaMda (niSyanda ) 4.39, tric kling. Neura ( nUpura ) 4.27, an anklet. NettaM (netra) 1.57, eye. Nollia (nunna) 1-2, urged, see the Notes. NDua (stuta ) 4.36, oozing. ta taANi ( tadAnIM ) 3.36, then . tai tadA, 2060. tai= tvayA, 2025. taDa ( taTa ) 1.46, bank. 109 tararATTaA (D. vidagdhastrI ) 4.40, a bold or clever girl. tarasA, 4.45, speedily. taraMgailI ( taraGgavatI ) 4.12, flooded. talavuDa ( tAlavRnta ) 1.48, fan, see Notes. tavaranti ( parAtri ) 2048, sunmer night. tavohaNa (tapodhana ), 1.16, an ascetic, a monk. tahi ( tatra or tasmin) 104, there, in or on that. taMta (tantra ) 2.27, doctrine, 'affair'.

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110 -kaMsavaho taMba (tAna ) 1.44, red. tumArisa-yuSmAdRza, 3.14 taMbulla (tAmbUla) 3.23, betel- tulla ( tulya) 1.62, similar. ___ chewing. tuhiNaara ( tuhinakara ) 3.6, tADaMka (tATaGka) 3.20, a kind moon. of ear ornament. tUra-tvar (dhA.) 1.8, to hasten. tAmasa, 2048, dark,gloomy.| taha ( tIrtha ) 4.39, a holy tArA (tArakA) 3.5, a star, place, see Notes. eye-pupil. tea (tejas ) 1.11, lustre. tAratamma ( tAratamya ) 3.45, tosia (tuSTa) 4.28, plearelative excellence. sed. tAlA, 3.33, see Notes -sthaNa ( stana) 1.53, breast. tAsa (trAsa) 1.20, fear, anxiety. thaTTa (D. sArtha ) 3.58, a tAhe-tAvat or tadA, 2.7 party. tikkhaMsu ( tIkSNAMzu ) 3.15, thaNaumbha ( stanakumbha ) 2.24, the sun. ___jarlike breast. tikkharassi (tIkSNarazmi) 1.11 thaNia (stanita )2.35, thunthe sun (whose rays are ____dering. scorching). thala (sthala) 4.11, region. tiloIvai (trilokIpati) 1.22, thalI ( sthalI) 4.39, spot. lord of three worlds. thANihallabhAva, 2056, see tIa-tRtIya, 3. colophon. Notes. tarie-tIyate, 1.38. thira (sthira) 3.15, steady, tura (tvayi) 1.19. ___mighty. tuittotvat, 3.8 thua (stuta) 4.16, praised. tujjhaNayuSmAkam , 1.25, see / thui ( stuti) 3.21, praise. the Notes. thora ( sthUra ) 2.27, big, tu? (tuSTa ) 1.19, pleased. massive. tuhika (tuSNIka) 1.7, silent, closed. | daizva-daitya, 3.44.

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-saddakoso dakvaNija-darzanIya, 4.42. dihigoara (dRSTigocara) 1.16, dakkhijai-dRzyate, 4.41. within the range of dacchaMta-drakSyamANa, 3.10. sight. dappasAli (darpazAlin ) 1.31, diNaMta ( dina + anta ) 1.3, one who is full of pride. evening. dara, 3.10, little. diNNa (datta) 2.1. davamgi ( davAmi) 4.30, forest dIhaM (dIrgha) 4.7, long, prosfire. trated. daMti-dadati, 2052, see Notes.| dIhara (dIrSa) 3.10, long, dasaNa (darzana) 1.15, seeing, large. sight. du-tu, 1.46. dANi-idAnI, 2.21. dualla (dukUla) 3.8, a gardAva-tAvat, 2028, see Notes. __ment, see Notes. diaha (divasa) 1.61, day. dukkhara ( duSkara ) 3.44, dikkhiA ( dIkSita ) 4.33, _____ difficult. ___ready, initiated. duggavira (durgarvazIla) 4.23. dikkhu -dikSu, 4-41,see Notes. duNNa (durnaya ) 3.40, digdhaM (dIrgham) 2.45, long time. wicked. digghAu (dIrghAyus) 4.8, long- dutthacitta ( duHsyacitta) 2.35, ____lived. ___mentally disturbed. digdhiA (dIpikA) 2.45, a durappaNA-durAtmanA, 1.39. Jake. dullaha (durlabha) 1.58, rare. dimattaM ( dRSTamAtram ) 2.26, duvAra ( dvAra) 6.23, gate. just at the sight. duvvAra (duvAra) 3.27, irrediTuMta (diSTAnta) 3.50, end, ___ sistible. ___deatb. dubvAha (durvAha ) 4.48*1, diTTie (diSTayA) 1.16, luc- difficult to ford. kily, fortunately; see | dugviNIa ( durvinIta ) 2.2, the Notes. ___impolite, obstinate.

Page #163
112 -kaMsavaho duve dvau, 3.45. dhAu (dhAtu)2.24, mineral. duhA (dvidhA ) 1.27, divided, dhua (dhuta) 2.20, washed, ___tvofold. shaken off. duhiu ( duhita ) 4.39, a dhuNaMta-dhUyamAna, 3.48 ___daughter. dhuNAi dhunAti, 3.56 dUa (dUta ) 1.26, a mess- dhuNI (dhvani ), 4.47, sound, ___enger. ___words. dUsaha / duHsaha ) 1.35, unbea dhibbola ( dhikAra ) 3.47, rable', ___words of reproach. gheNu, 4.24, see Notes. de-dA (dhA.) 1.20, to give. dhoraNI, 2.53, a stream. do ( dos ) 1.53, arm. dogghaTTa ( D. gaja ) 2.52, paaccha-pradA (dhA.) 1.9, to ___give. ____elephant; see Notes. | paaDula (pracaTula ) 3.3, undohaNa ( dohana) 1.3, milking. steady, restless. ddhaa ( dhvaja ) 1.4, lanner, paada-prayat (dhA.)3.27. flag. paabma-pragalbh (dhA.) 1.30, to -ddhaNia ( dhvanita / 2.35, bave the power, to dare. sounding, roaring. paalaMta, 2.50, see Notes. paA ( prajA) 4.6, subjects. a ( dhvaja) 3.56, banner. paAva (pratApa) 3.60, valour. - dhvan (dhA.), 3.58 pAsa (prakAza ) 1.59, light. (dhanus ) 2.35, a bow. paAra (prakAzam ) 4.3, openly ghaNuha (dhanus ) 1.22, boir. pai (pati) 3.57, master, Icd. dhattivaTTa ( dhAtrIpRSTha ) 3.50, paidi (prakRti) 3.25, nature. ___surface of the earth. eeda (pracetas ) 4.38, see dhammillaa (dhammillaka) 4.27, Notes. ___a braid of hair. paesa (pradeza) 2.43, region. dhaMsa (dhvaMsa)4.1, destruction. | pao (payas) 4.48*1, water.

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- saddakoso paoa ( payoda ) 2.35, a cloud | paDiTTha (pratiSTha) 3039, remain paohi = payobhiH 4.36, see the Notes. ety a 113 ing. paDiNNA (pratizA) 3.40, a vow. paDippa ANa ( pratiprayANa ) 159, return. pakki ( prakriyA ) 1.40, mological formation. pakkhavAlI (pakSapAlI ) 2.5, wing. page ( prage ) 1 34, at dawn. paggaha ( pragraha) 1033, rope . paJcaa (pratyaya) 2056,see Notes. paccakkha (pratyakSa ) 1.18, eye paDima (pratima ) 2055, like. pAMDavAla - pratipAl (dhA. ) 1.59, to wait. to eye. paccahaM ( pratyaham ) 2.53, day to day. paDihA (pratibhA) 3.2, genius. paDIghA ( pratIghAta ) 4.14, removal. paDhama ( prathama ) 2.19, first. return. pazcAamaNa ( pratyAgamana) 1058, paDhilla (prazithila) 3-34, loose. paNa ( praNaya ) 4.5, love. paJcavaTThA - prati + upa + sthA (ghA.) 108, paNAida ( paNAyita ) 2040, to receive. pazUsa (pratyUSa) 3.1, morning. paccUha (pratyUha) 3.16, hindrance. pacchA ( pazcAt ) 2.29, afterwards. pajja (pAdya ) 2050, washing the feet etc. paTTa ( spaSTa ) 4.35, evident. paTTi (pRSTi ) 1.33, side. paTThia (prasthita) 1-34, started. paDAiA ( patAkikA) 2.41, a flag. ra paDibiMba ( pratibimba ) 1.62, reflection, image. praised. paNolla - praNud (ghA.) 3.49, to impell. pahi ( prazna ) 2.50, inquiry ; see Notes. patthAva (prastAva ) 301, beginning. patthiva ( pArthiva ) 4.5, a king. padapasa ( patageza ) 1035 Garuda, the king among birds. paduma (padma) 1.61, lotus.

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- kaMsavaho - papphuja - prasphUrj (ghA.) 3.58, / pariveDha ( pariveSa ) 3.32, a to outburst. 114 pambhAra ( prAgbhAra ) 4.35, large quantity. pamauladA ( pramukulatA ) 3.37, see Notes. pamada (pramarda) 1045, crushing. pamala - pramRd (dhA.) 2.36, to crush. pammaTTha ( pramRSTa ) 3.17, rubbed pamhala ( pakSmala ), 1.4, hairy, shaggy. pamudira ( pramodazIla ) 4.37, ju bilant. parapphara ( paraspara ) 3.47, -mutual. paravaMta ( paravAn ) 2027, one who is occupied. paraM 1.6, greatly. parAbhuva - parAbhU (dhA ) 4.19. parizce- parityaj (ghA.) 1.13, to abandon. paridhoa ( paridhauta ) 2.1, to shine. palita ( pradIpta ) 1042, lit up. pallaMka ( paryaGka, palyaGka ) 1045, bed, couch. pavaTTa- pravarta (dhA. ) 1.27, to start. pacaDa - prapat (dhA. ) 3.55, to jump. pavaNa ( pravaNa ) 3.22, intent. pavaMcia ( prapaJcita ) 4.40, displayed. pavAla ( pravAla ) 3.19, coral. pavAha ( pravAha ) 2043, stream. pavitta ( pavitra ) 4.3, pure. pavisaGgha ( D. pravikasita ) 2.49, opening, blooming. to embrace. pariveDha - pariveST (ghA.) 1053, pavutta ( pravRtta) 2.7, begun. to surround. pavvaa (parvata) 4.26, mountain. washed. paripADa - paripAT (dhA. ), 2.8. pariphusa - parimRj (dhA ) 3.7. pariraMbha - pariram ( dhA. ) 2.27, circle; see Notes. parivesa ( pariveSa ) 2046, hallo. parihA ( parikhA) 2.42, a moat. parusa ( paruSa ) 2.36, harsh. parokakhabhAva ( parokSa - ) 4.42, invisibility. parosa ( praroSa ) 2036, anger. palaMbabAhu ( pralamba - ) 1.27, palija- pradIpU (ghA.) 1.11, of long arms.

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-sahakokho pasara (prasara ), 2028, spread, / pAINa (prAcIna) 3.20, eastern. appearance. | pAusa (prAiTa) 4.2, rain. pasava (prasava)2.50, a flower. pADala (pATala) 1.52, pink. pasAa (prasAda) 4.2, satisfac-| pATipphaddhI (pratisparSi) 3.44, tion. .. competition. pasuva (pazupa) 1.62, cowherd.| pADhatta (prArabdha) 3.1, begun. pasUNa (prasUna) 2.17, a flower. | pANAa-prANAya (ghA.) 1.26, to paha-prathu (ghA.) 2.29, to ex- breathe. __tend, spread. pArisa (pArita) 1.21, able. paha (patha) 1.28, path. pAruha-prAruh (ghA.),1.61. paharisa (praharSa ) 3.37, joy. pAlaMkha (prAlamba)4.41, pendants pahANa (pradhAna) 1.39, chief, / pAlI 3.2, a line, row. important. pAlebha (prAlaya) 3.24, snow. pahudi (prabhRti) 4.23, comm- pAva-prApay (dhA.) 1.9, to lead. encing with. pAve-prApay (ghA.) 3.20. paMkaa (paGkaja) 1.4, a lotus.| pAsa4i (pAvasthita) 1.6, stanpaMDica (pANDitya) 3.42, skill. ding nearby. paMthama (pAnthaka) 2.16, a tra- pAsutta (prasusa) 3.2, sleeping. veller, one who follows | piadasaNa (priyadarzana) 2.30, the path. ___good looking. paMsaNa (pAMsana) 1.23, a wicked | pikka (pakka) 1.52, ripe. person, a wretch. | picchila 2.52, slimy.. paMsu (pAMsu) 1.48,dust, pollen. pija-passive base of pA pAaDa (prAkRta) 1.29, not (ghA.) 1.17. _cultured, ordinary. | pijamANa-pIyamAna, 2.38. pAaDa ( prAkRta ) 4.4821, piNaddha (pinaddha)1.38, fixed. Prakrit language. pidara (pitR) 1.12, parents. pAva (pAdapa) 1.47, tree. | pisaMgimANa (pizaGgiman) 3.18, pArahimo-pAsyAmaH 1.54. tawny colour.

Page #167
- kaMsavo - pihajaNa (pRthagjana) 2031, an | puhavI (pRthvI) 4.23, earth. pekkha- prekSa (ghA.) 2.11, to 116 ordinary man. see. piDu ( pRthu ) 2059, great. piMcha ( piccha ) 1-1, a feather | peccha-prekSa (ghA.) 1-24, to see, attend, visit. pecchaNija ( prekSaNIya) 2013, of a tail. piMDiA (piJchikA ) 1.41, feather. pIa ( pIta ) 4.26, yellow. pIaMbara ( pItAmbara ) 1043, yel - low garment. pIDhamaddaa ( pIThamarda - ka) 1.49, companion. puNNa (puNya) 1.19, merit. puNNa (pUrNa) 1-17, full. puNNabhAga ( puNyamAk ) 2.31, 2019, meritorious. puNNimA ( pUrNimA ) Full-moon day. puSka (puSpa) 1.50, flower. pupphavaMtA 3.37, see the Notes. purassara 3.3, preeminent one. pulaa ( pulaka) 1.62, horri pilation, hair-end. pulaa - pralok (ghA.) 104, to see . pulaAli ( pulaka + AlI ) 1.4, line of hair-ends. puvvAsA (pUrvAzA) 3020, eastern direction. attractive. poNidda ( probhidra ) 3041, awake. poda ( pota) 3.40, young one. posaa ( poSaka ) 1.13, one who brings up. - Ama ( prakAma) 1043, suficiently, very much. - pabhAva ( pratApa ) 1.31, strength, power. -paoaNa (prayojana ) 1-15, occasion, purpose. -ppakkama ( prakrama ) 1061, begin ning. pmuha (pramukha) 1-21, leading. -ppamoa ( pramoda ) 104, jos, delight. - pyahia ( prahita) 1.54. pphuDaM ( sphuTam ) 1 29, clearly. pha phaliha (sphaTika) 2043, crystal. phAra (sphAra) 3.60, excessive.

Page #168
- saddakoso - vibhaMtA-vimya : 3.51. phiDa - bhRza (ghA.) 3047. phiDia ( D. bhraSTa ) 308, drop | bIa (dvitIya) 2 colophon. bItA - vimyataH, 3.8. ped. phura-sphur (ghA.) 1042, to | bujjha - budhU (ghA.) 302, to wake. shine. buDDu - majj ( dhA. ) 1063, to dive, to sink. beNi dvau, 3-41. - bhumaA ( bhrU) 1.57, eye brow. phulla (puSpa) 1046, flower; see Notes. va bajjha - bandhU ( dhA. ) 302, to construct. bahu ( baTu ) 3.52, a boy. baliaM ( D. gADham ) 2014, bha bhagga ( bhama) 4-18, destroyed. bhaNNa - Passive base of maN ( dhA. ) 1028. strongly. dance. bahuttaNa ( bahutva ) 2060, abun | bhaNAi = bhaNati 2020, see Notes. bhakta ( bhakta ) 4.33, devoted. baMdhaI ( bandhakI ) 3017, an | bhatti ( bhakti ) 4. 34, devotion. unchaste woman. bhantu ( bhartR ) 3.41, master. bahia ( bRMhita ) 3.58, increa- | bhramaNa ( bhramaNa ) 3048, move sed. ment. bAlacAvala ( bAlacApala ) 206, bhavaM ( bhavAn ) 1014, your a boyish prank. honour. bAha ( bASpa ) 407, tears. bAhira (bAhya) 106, external. bAhujaMta ( bAhuyantra ) 3.47, bhavva ( bhavya ) 1014, a pions or virtuous person. bhavvamadi ( bhavyamati ) 4048* 1, a man of pious intention. armlock. bAholla (bAha+ulla- bAppAI ) 104, bhaMgaa ( bhaGgada ) 1043, defea with tears; see wet Notes. vibhANa - vibhrANa 3.52. 117 ting, surpassing. bhaMDa ( bhANDa ) 1*32, a pot. bhAa ( bhAga ) 3012, region.

Page #169
-kaMsavaho mAdara (bhrAta) 1.27, see thes Notes. mama (mada) 1.7, hilarity, mizca (bhRtya) 2.2, servant. vanity. mida (bhRta) 2012, filled. mama (mRga) 1.50, deer;-laMchaNa, miMga (bhUta) 3.9, a bee. 1.50, moon. miMgaula (bhUnakula) 1.38, a mahaladama 3.39, see the Notes. ___swarm of bees. maile-malinay (ghA.) 1.30, to bhuja (muja) 1.31, arm. darken. muaMga (bhujaGga)1.43, serpent.] mahaMga (mRdaGga) 2054, a tabor. muaMtara (bhujAntara) 1.53, chest.] mau (mRdu)202, gentle, mild. mubAlA (bhujAlatA) 1.43, maua (mRduka) 2.22, tender. arm-creeper. mauMda (mukunda)1.47, a name bhuSa-m (dhA.) 1.10, to be, ___of Krsna. to become. maUra (mayUra)2053, a peacock. bhUaghattI ( bhUtadhAtrI ) 2.49, magga (mArga) 2.31, path. the earth. macchara(matsara)3.58, jealousy. bhUmala (bhUtala). 1.4, surface | majA (madhya) 2042, centre;of the earth. vahiNI (vartinI), standing in bhUdeva 4.33, a priest. __the centre. mari 1.14, much. maNNa-man (ghA.) 1.40, to bhUSA (bhUpati) 1.32, king. I think, to consider. bhUSaTTha (mapRSTha) 3.54, surface of ] maNipatta (maNipAtra ) 2.12, & the earth. ___jewelled pot. bhUsA (bhUSA) 3.20, an orna- maNippahA ( maNiprabhA) 1.43. ment. ____lustre of jewels. moa ( bhoga)1.43, hood or | maNNe-manye, 2.22. the body of a serpent.. maNoja (manoza)1.44,pleasingmoha (bhogin ).4.28, a serpmaNoraha (manoraya) 1.51,desire. ent. mattaMDa (mArtaNDa) 3.51, sun.

Page #170
- saddakoso - goose. malijjamANa ( mRdyamAna ) 1.53, being crushed. mattavAraNa 3029, see Notes manuM martum, 3.29. matthaa ( mastaka ) 1.36, head. mAA ( mAyA, mAtR ) 4017. mamassimaya, 1.14. maragaa (marakata) 3*11, , emerald. mallaa ( mAlyaka) 2.33, a flo_wer, a garland. malliakkha ( mallikAkSa ) 2026, masAra 3.26, an emerald. masiNa ( masRNa) 2013, glossy, soft. mahaNijja ( mahanIya ) 2031. glorious. mahaM ( mahat ) 1.19, great. mahAaNa ( mahAjana ) 1.13, a great person. mahAghara ( mahAgRha) 1.24, a big hall. mahia (mahita) 2.33, worship - ped, decked. mahisakkhaa 2032, bdellium. mahugoTTI (madhugoSThI ) 2.55, liquor-club. maMca 1-22, sofa, dias. maMju 4040, sweet. maMjula 409, lovely. ( mahiSAkSa ka ) masala ( mAMsala ) 1048, fleshy. heavy, loaded. 119 mAurA (mAtR ) 3.25, mother. mAula ( mAtula ) 1.18, mater nal uncle. nother. mANiNI ( mAninI ) 2-27, a proud lady. mAdA ( mAtR ) 1.13, mAlabhArI ( mAlabhArin ) 2.1, bearing or wearing a garland. mAlia ( mAlika ) 201, agarland-maker. mi ( mAM, me ) 2.23. miacchI ( mRgAkSI ) 2.20, & fawn-eyed lady. miTTa (mRSTa ) 1.9, dainty, 8 weet. midakkharaM ( mitAkSaram ) 1.14, in measured words, in short. misa (miSa ) 4.23, pretended appearance. mihira ( mihira) 2.37, the sun. miDuNa (mithuna) 2051, & couple. middo ( mithaH) 3058, mutually .

Page #171
- kaMsavaho - muula ( mukula ) 3013, a bud. | molibhuva ( maulibhU ) 2.60, top muuMda ( mukunda ) 1055, a name of Krsna. 120 mucchA ( mUrcchA ), 2022, infa - tuation. muTThi ( muSTi) 2.33, fist. muNa-man or jJA (dhA. ) 1-11, to think, to understand. mutti ( mUrti ) 1.40, form. mukti (mukti) 4.33, release. muddha ( mugdha ) 1.36, see the Notes. mudia ( mudita ) 2030, happy mudira 4.37, a cloud. mulla ( mUlya ) 4-12, price. musiNAi - muSNAti 2.47. musiNAu = muSNAtu, 4016. muha (mukha) 1017, mouth, face. muhala ( mukhara ) 2057, noisy. muhA ( mudhA ) 1056, in vain. muhattaa ( muhUrta ka ) 1.52, a period of time. mehalA (mekhalA ) 1-43, girdle. moa - moc (ghA.) 4.6. mokkha (mokSa) 2028, liberation. mottA (muktA ) 1.8, pearl; - guNa, pearl-string. moli ( mauli ) 2060, head, the top of anything. region. mora ( mayUra ) 1.41, peacock. moha ( mayUkha ) 2010, a ray of light. moha 2.45, delusion. mha= sma 2.25, see Notes. ra raa ( rajas ) 1.4, dust. raaa ( rajaka ) 2.1, a wash erman. raaNI ( rajanI ) 2.45, night. radda ( rati ) 2.48, love sport; - rasama, exertion of.... raha ( ravi ) 2.46, the sun. raksira ( rakSitR ) 4-6, protector. rakkhibhaDa ( rakSibhaTa ) 2.36, a soldier on guard. raNNa ( araNya ) 3.40, a forest. rata ( rakta ) 3048, blood. raNAara ( ratnAkara ) 2.49, ocean. ramma ( ramya ) 2011, attractive. rasAla 40 39, the mango tree. rassi ( razmi ) 2042, a ray. raha (ratha) 14, a chariot. raha (rahas) 1.23, secrecy, privacy.

Page #172
- sahakoso 121 rahasa ( rabhasa ) 2.8, haste. rehA (rekhA) 1.4, a line. rahaMgaNAma (rathAGganAma) 2.45, roNija ( rocanIya ) 1.61, ___ a Cakravaka bird. ___pleasing. rAa (rAga) 2.24, glow, hue. roha (rodhas) 4.39, bank. rAI (rAji)1.61, a line, row. rAmamagga ( rAjamArga) 2.1, the lakkhaNa (lakSaNa) 2.56, see royal road. Notes. rAahANI (rAjadhAnI) 2.30, lagga-lag (dhA.) 1.37, to _royal residence. ____ stick, to follow. rAmA 4.4, a beautiful dam- lacchI (lakSmI ) 2.31, wealth, ____sel. glory. rAsi ( razmi, rAzi) 3.17, a laTTi (yaSTi) 2.8, stick. __ray, a heap or mass. ladA (latA) 1.54, creeper. rikkha (Rza)3.15, a star. lahu (laghu) 2.9, light. rIDa (rIti) 1.13, course, | lahUida (laghukRta) 2041, humway, method. -gAmiNo ___iliated. (-gAminaH) 1.13, those laMghIa 4.12, see Notes. that follow the course laMbha (lambha) 1.12, obtaining, or way. ___finding. ruDa (ruci)2.44, light, glow. laMbha-lam (dhA) 4.14. rukkha (vRkSa) 2022, a tree | litta (lipsa) 2045,besmeared. rugga ( rugNa) 2.8, injured, luha-mRj (dhA.) 2.24, see broken. Notes. rUva-rud (dhA.) 1.6, to weep,| loa (loka) 1.59, world. ___to cry. loaNa (locana) 1.51, eye. ruMbha-rudh (dhA.)3.27, to stop. va rusia ( ruSTa) 4.28, angry. / vaaNa (vacana) 2.36, a word. rUha (rodhas ) 4.48*1, dam; vaaMgaNa (vraja+aGgana) 1.3, yard see Notes. of the cowpen. PLEARN

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-kaMsabaho vaaMgaNA (bajAGganA) 1.36, the | pacchalaMchaNa (vatsalAJchana)1.42, ___cowherd woman. I see the Notes. vahatthiA (vrajastrI) 1.60, dhacchalija ( vAtsalya ) 2.6, Vraja lady. ____affection. vaesa (brajeza) 1.3.2, the cow-bala (vajI 3.35.thunderbolt. _herd chief. vao (vacas)1.28,speech,sta dhajjha-vadh (ghA.) 3.52. _tement; see the Notes. vaDAva-vardhApay (dhA.)4.8,, to. vahAva vaNiA (vanitA) 1.64, woman ___congratulate. varila (D. vastra) 2.1, a gar-| vaNNa (vanya) 1.53, wild. __ment; see Notes. patta (vaktra) 3.39, face. valahI (valabhI) 2047, a turret.| yatthi 3.55, see Notes. valaAmuha (vaDavAmukha) 3.18, batthu ( vastu ) 1.6, object, ___ submarine fire. ___ thing. palia (valita) 2.18, turned. | bappa (vapra) 2.46, a rampart. vale 1.2, a term of address%3B vammaha (manmatha) 2021, god of ___see the Notes. __love. vavu ( vapus) 4.44, body. vasaNa (vasana) 2.9, agarment. vayyAaraNa (vaiyAkaraNa) 2.56, vasahi (vasati)2.60, anabode. a grammarian, vasaMva(vazaMvada) 1.56. vallava (ballava) 4.16, a cow____dient, devoted. ___herd. vahU ( vadhU) 4.41, a maiden.| vallaha ( vallabha ) 2.59, 3. vakkhAi-vyAcaSTe 1.40. beloved. vagga (varga)4.23, group. vaMka (vakra) 3.53, crooked. vazva-vraj (dhA.) 1.23, to go. baMkadA (vakratA) 2.2, crookedvaccha (vakSas) 1.42, chest. | ness. vaccha ( vatsa)4.8, a boy. | vaMjha (vandhya) 2.6, barren. vacchala (vatsala) 1.13, lov- vAa [vA-glai (ghA.)] 3.39,, ing, affectionate. to fade.

Page #174
-sahakoso 123 vAma (vAda ) 2.56, disputa-| viaha (vidagdha) 4.5, clever. tion. viappaha (viyatpaya)3.22, the vAa (byAja)4.23, disguise. path of the sky. vAma (vAta )2.47, wind. viala-vigal, 3.15. vAa (vAk ) 1.55, speech.. viala (vikala) 4.41 destivAAlia (vAcAlita) 3.55, ___tute of. ___noisy. viasa-vikas (dhA.) 1.10, vADa ( vATa) 2.50, agarden. to bloom. vADiA ( vATikA) 1.1, en- | viassara ( vikasvara ) 3.60, closure, settlement. ___blooming. vANIra (vAnIra) 1.46, cane | vibha-vijRmbha (ghA.) 1.18, creeper. ___spread. vAma 2.59, refractory, un- viAMsa ( vikAsa ) 1.61, favourable. ___shining. vAmacchi ( vAma+adhi ) 3.25, | viiNNaMti-vicinvanti, 1.16, left eye. see the Notes. vAmadA ( vAmatA) 1.18, per- vioa ( viyoga ) 1.35, versity. ___separation. vAmA 2059, a beautiful vikkA (vikraya) 4.13, exwoman. ___ change. vAmiA ( vAmikA ) 2.14, vikaMti ( vikrAnti ) 3.48, adverse. ___feat of valour. vArisa ( vArida ) 1.60, vikkhaNa ( vIkSaNa ) 1.25, __cloud. ____seeing, meeting. vArivAha 3.24, a cloud. vikkhada (vikSata)3.15, woundvAvuDa (nyAta)1.3, engaged. ____ed. vAhara-nyAhara, 2025. vikkhA (vIkSA) 3.3, seeing. viSama (vikaca ) 3.23, bloo- vikkhoha (vikSoma)3.15,manming. gling.

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124 - kaMsavaho viggaha ( vigraha ) 1.4, the | viNamma (vinamra) 1.15, bent ___body, figure. down. vighaTTa 3.46, impact. viNiuMjiyo-viniyojitaH,3.43. vicchaGka (vicchadaM) 3.14, dis- viNiha (vinidra) 3.21, awake. ____play. viNhi (vRSNi) 4.7, see Notes. vicchAIkA (vicchAyIkRta)3.4, | viNIa (vinIta)2.15, modest, ___rendered pale. ___polite. vijaMti-vidyante, 2.58. viNhu-vaccha ( viSNuvakSas ) vijAhara (vidyAdhara ) 2058, 1.36, chest of Visnu. a Vidyadhara, or one viNoSaNa (vinodana) 1.49, re who has Vidyas. ___moval. vijimha (vijihma) 1.57, curv- vitthara-vistR (ghA.) 2.51, to ed, bent. ___ spread. vijulI (vidyut) 1.49, light- vitthara (vistara) 2.39, exten. ening. sion, prolixity. vijulilla ( vidyutvat ) 3.24, vitthiNNa (vistIrNa) 3.55, ___extensive. possessed of lightening. vidAluNa (vidAruNa) 1.37, viTTharassava (viSTarazrava) 3.59, a ___ cruel, pitiless. _name of Krsna. vippalaMbha (vipralambha) 4.31, viTTha (viSTa) 4.44, spreading. g trechery. viTuMbhitra ( viSTambhita ) 4.35, vippalaMbhaNa (vipralambhana) 1.26, ____pervaded. 1 deceipt, trechery. viTTi (vRSTi) 2059, rains. vimaa (vimada) 1.30, great viDa (viTa) 4.5, a voluptu- ____vanity. ary. vimaa ( vimata ) 3.60, an vihirilla (D. bhayaMkara) 2.36, enemy. fierce; see Notes. vimhaa-vismay (dhA.) 1.63. viDhatta ( vidhRta ) 4.5, see vimhara-vismar (dhA.) 1.45, to Notes. forget.

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- saddakoso - virAmadallI ( virAmavatI) 404, terminable. vilaMbia ( vilambita ) 1049, hanging. faster (facity ) 8.3, loss. vivakkhida ( vivakSita ) 2025, expressed. vivaMciA ( vipaJcikA ) 4.40, sport, amusement. Sibuda ( vivRta ) 3.10, opened. bisa (viSa) 2022, poison. visaa (viSaya) 2.60, topic, territory. visaa ( viSada) 3.11, bright. visajja-visRj 2030, to take leave. visajia ( visarjita ) 1.19, sent, despatched. visaTTa (D. vikasita ) 1-10, bloomed. visama 3.49, uneven, unfair. visamahiaM 3.53, see Notes. simesu ( viSameSu ) 2.22, the god of love. Sisiddha (viziSTa) 1.15, spe cial, specified. visiha ( vizikha ) 2022, an arrow. bisUraNA ( D. vedanA ) 307, sorrow. 125 visoha ( vizoma ) 3.7, pale, contracted. visohaNa ( vizodhana ) 2.9, washing away, purification. | 2056, in biiDa - viSaT 2045. vihaNAsi vihaMsi, 4- 24. vihala ( viphala ) vihava ( vibhava ) 2.21, wealth. operative. vihAa = vihAya 1037, having abandoned. vihAra = vibhAti 3.43. vihAvarI ( vibhAvarI ) 4042, night. vihi (vidhi) 1-26, a positive instruction. vihi ( vidhi ) 1.18, fate, destiny. vihu ( vidhu ) 1-10, moon. vidulla (viphulla ) 1.4, blooming. vira ( vibhUti ) 2041, pros - perity. visAva-vibhUSay (ghA.) 1.1, to adorn. vIsaMbharA ( vizvambharA ) 3.58, earth. vIsasimo - vizvasimaH, 4.24.

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126 - kaMsavaho turbed. cIhala ( vihula ) 1.56, per-| saippAsa (sadAprakAza) 2.9. ____ see Notes. vIlA (brIDA) 3.5, shame. sau (zayu) 4.20, a boasnake. vIhiA ( vIthikA ) 2.44, | sakkae-zakyate, 2.3. street. sakkavi ( satkavi ) 2.29, a vIhI ( vIthI) 3026, road. good poet. vIhIgAhI ( vIthIgAhI) 1.64. sakkuNa-zak (dhA.) 3.33, to buMta ( vRnta) 1.46, stalk. be able. buMda (vRnda) 1.64,party,group. | sakkhiNI (sAkSiNI) 1.46, buMdara (vRnda) 2.57, a group. witness. buMdAraa (vRndAraka) 4.26, a god. sagga (svarga) 2.47, heaven. buMdAvaNa ( vRndAvana ) 1.50, saca ( satya ) 1.12, true, name of a park; see ___surely. Notes. saccha (svaccha) 3.22, clear, vera (vaira) 3.39, hatred. ____brilliant. belA 1.62, bank. sacchaMdaM ( svacchandam ) 3.13, vola-apakram (ghA.) 2.7, to voluntarily. pass, to proceed. sacchahaM (D. sacchAyam) 1.15, ___ similar to, like. sama-zI (ghA.)441, to lie sajiaM ( sajyaM [dhanuH]) 2.33, down. ____with a string. saa (zata) 2.35, lundred. | sajo (sadyas) 1.10, immesa (svayam ) 1.29, himself. diately. saaDa (zakaTa) 1.32, a cart. | saNi ( zanaiH)2.12, slowly, saaNa (svajana) 2.30, one's ____ gradually. own people. saNNaddha (sannaddha) 3.45, ready, saaluNa (sakaruNa ) 3.9, com- prepared. passionate. saNNaha-saba (ghA.) 1.21, to saha (sadA) 2.51, always. I be ready, to prepare.

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-sadakoso 127 satti (zakti) 2014, power.| samAraMbha-samAram (dhA.) 1.22, sattu (zatru) 3.25, an enemy. | to begin, to undertake. satthaa ( sArtha-ka) 1.6, colle- samAvaDa-samApat (dhA.) 2.12. ___ction, multitude, range. samidhe-samindh (ghA.) 1.31, to saha (zabda) 1.40, word. burn, to enkindle. sahala (zArdUla ) 3.49, a tiger. samIra 2.51, breeze. sama-zam (dhA.) 2.51, to samuTTia (samusthita) 1.29, ris ___ing up. pacify. samuvaTTia 2.39, see Notes. samatta (samAta) 4. colophon, sara (zarat) 4.48, autumn. ended. sara (saras) 2.51, a lake. samattha (samasta) 1.59, whole, saraa (zarat) 4.25, autumn. ___all. saraNa (zaraNa) 4.21, ashelter. samallaa 3.25, see Notes. sarAsa (zarAsa) 1.24, a bow. samallia (samAlIna) 1.2, see sarisa (sadRza) 2016, similar, the Notes. like. samhara 4.12, memorable. sarIra (zarIra) 2.10, body. samAaNNa-samAkarNa (dhA.) 1.35, sarIri (zarIrin ) 1.12, the to hear. ___embodied being, people. samAama (samAgama) 2.16, saroavADa ( sarojavATa) 3.21, meeting. ___ lotus-plantation. samAura (zramAtura) 1.48, ex- saroiNI ( sarojinI ) 1.59, hausted. lotus plant. samAura (samAtura) 3.25, an- saroruha 2.51, a lotus. xious, afflicted. salaha ( zalabha) 1.29, moth. samAula (samAkula) 1.20,dis- salla (zalya)2.20, an arrow, turbed, agitated. dart. samAkaDa-samAkRS (dhA.) 2.33, | salAhA (lAghA) 2-57, prarse. to pull. J sava (zrava) 3.20, ear.

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128 -- kaMsavaho savaDa (sapadi ) 1.61, at once. | saMtA-santaH 3.9. savasa (svavaza ) 2.23, self-saMda (sAndra) 2.55, vehement; dependent. 4.39, copious. sasa ( zaza) 3.49, a hare. saMdaNa (syandana) 1.61, chariot. masi zazina ) 2.10. moon. saMpa (sAMpratam) 1.19, now. sahala (saphala) 2056, opera saMpaA (saMpad ) 1.20, wealth, tive, effective. ___glory. sahassa ( sahasra) 4.18, thou- | saMpaAsa-saMprakAz (dhA.) 1.31, sand. ___to shine. sahassarassi (sahasrarazmi)1.59, saMpai (saMprati ) 1.21, now. the sun. saMpaka (samparka) 1.48, contact. sahA ( sabhA) 2.29, an asse- saMpatta (saMprApta) 3.7, reached. mbly. saMpamaha-saMpramaI (dhA.) 1.21, to sahAjia ( sabhAjita ) 1.32, crush. honoured, respected; see | saMpuNNadA ( saMpUrNatA ) 2.19, Notes. ___ fullness. saMketa (saMkrAnta)2024, reflected. | saMbhara-saMsmar (dhA.) 1.5, to saMkha (zaGkha) 1.4 couch. ___remember, to meditate. saMkhohi ( saMkSobhin ) 4.44, saMbharAva-saMsmAray (dhA.) 2.43, ___ oppressive. ___to remind. saMgharisa (saMgharSa )4.45, rubb- saMbharAvaa ( saMsmAraka ) 3.23, _ing. reminiscent. saMchiva-saMspRza, 2.17. saMbhava 1.19, origination, saMjhA (sandhyA) 2017, evening. ___acernal. saMjhArAa (sandhyArAga) 3.15, / saMbhAra 3.60, wealth. __glow of twilight. saMvaggia ( saMvalgita ) 1.33, saMta ( zAnta) 3.9, pacified. rolling, moving. saMtadi (santati) 3.9, a line, | sAaraM (sAdaram) 1.55, respectarray. ____ fully. och. ..

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- saddakoso sADovaM ( sATopam ) 3.42, siloma (loka)2.57, a verse. ___proudly. / sisu (zizu) 3.49, young one. sAma (zyAma) 2.44, dark. sihara (zikhara) 4.22, peak. sAmala (zyAmala) 1.41, dark. sihA (zikhA) 2.32, fiame. sAraa (zArada) 4.37, autu- sihi (zikhin) 4.36, fire. mnal. sihi (zikhin)1.1, peacock. sAracchavi (zAracchati) 2.23, sika (zikya) 1.32, see the ___variegated skin. ___Notes. sArasekkhaNA (sArasekSaNA) 2.18, siTra (zliSTa) 3.11, touched. a lotus-eyed lady. | sitta (sikta) 3.56, sprinkled. sAhasika (sAhasikya) 2.25, sippaAriA ( zilpakArikA ) audacity. 2015, an artisan. sAha (sAdhama ) 1.64, with. sippi (D. zukti ) 4.46, a sAhA ( zAkhA) 4.45, al pearl-oyster. ___branch. siMkharA (zRGkhalA) 3.31,chain. sAhiTTa (sAdhiSTha) 1.15, the siMcAva-secaya (ghA.), 4.1. ____ best, excellent. sia (sita) 2.10, white. siMga (zRGga) 2.10.a peak; siaa ( sicaya ) 2.10, a siMgha (siMha)3.40, a lion. 4.40, a horn, lute. ____garment. sIa ( zIta) 4.39, cold. siNiddha (snigdha) 1.1, attuched, affectionate, loving. sIara (zIkara ) 2.51, mist, siNeha (sneha) 4.7, love, | ____spray. ____ affection. sIala (zItala ) 1.60, cool. sira ( ziras ) 2.8, head. sIsa ( zIrSa ) 2.4, head. sirI (zrI) 1.1, Lakshmi, | sIsasaka ( zIrSacakra ) 3.35, the goddess of wealth ___multitude of hoods. and prosperity. sua (zuka)1.46, parrot. siliTTa (liSTa) 4.40, uni-| suaNa (sujana ) 2.29, a good ted, attended. man.

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130 -kaMsavaho sumaMti-dhyante, 2.34. / suhaa (subhaga) 3.3, fortunate, sudaraM (suciram ) 3.8, for a blessed. ___ long time. suhA (sudhA) 1.2, nectar. suumAra ( sukumAra ) 2.16, suhAva-sukhay ( dhA. ) 1.60, tender. to appease. suUDha (sugUDha) 1.46, hidden.! suhIaNa (sudhIjana) 1.2, men sukka ( zuSka) 1.47, dry. of intelligence; see the sajja ( sUrya ) 4.42, the sun. Notes. sujakaMda ( sUryakAnta ) 3.14, suMDA (zuNDA )3.32, trunk. ___sun-stone. suMdara ( saundarya ) 1.17, lovelisuNa-zrU (ghA.) 1.20, to hear. ness, beauty. suttahAra (sUtradhAra) 3.1, the sUra (sUrya) 2.40, the sun. ___stage manager. sUrakaNNA ( sUryakanyA ) 1.62, satti ( sUkti) 4.46, a well- the river Yamuna. ___spoken word. sea (sveda) 2.47, perspirasuppaMta-svapat 4.30. tion. subbhu (suna) 2.25, having secchaM (sveccham ) 3.58, volu____lovely brows. ntarily. sumaNa (sumanas )2.58, a good sejA (zayyA) 1.50, bed. __man, or god. seNI (zreNI) 4.26, a line, sUra (zUra) 4.48, heroic. ___row. suradda (suradu) 3.57, a cele- seraM (svairaM) 3.56, according stial tree. to pleasure. surahi (surabhi) 2.16, frag- sehara ( zekhara ) a chaplet, rant; 4.36, the celestiall crest. cow. soa (zoka) 1.60, sorrow, suvaNNa ( suvarNa) 1.43, gold. ___grief. subba-zrU ( dhA.) 1.6, to hear. socchii-oSyati 2.6. suha (zubha) 1.61, auspicious. | soNia (zoNita)3.15, blood.

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- saddakoso soNimaMDala (zroNimaNDala) 1.43, / hadAsa (hatAza)3.25,wretched. the region of hips. I hammia (harmya) 1.34, palace. somAla ( sukumAra ) 1.43, hari 3.15, lion. tender. harida (hRta) 2.25, carried. soraha (saurabha) 1.38, frag- harimmaNi (harinmaNi) 1.41, an ___rant. ___emerald. soha (zobha) 2.42. halabbola (D. kolAhala) 2.59, soha (saudha) 2.42, palace. ___loud noise. sohagga ( saubhAgya ) 3.19, love- | havvavAha (havyavAha) 2.5, fire. ___ liness. hiaa (hRdaya) 2.14, heart. sohA (zobhA) 2.21, beauty. hiraNNarea (hiraNyaretas) 1.31, ____fire. sohida (zobhita) 4.10, cha hirI (hI) 4.46, modesty. rming. hukhalu 2.3. hutto (abhimukha) 3.23, tohakAra-Ahe (dhA.) 1.23, to ___wards. call. helA 3.32, sport. haDha (haTha) 3.54, force. ho-bhU (dhA.) 1.32, to be, to hatthiva (hastipa) 3.29, the become. elephant driver. } hodu-bhavatu 2.6.

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Page #184
TRANSLATION CANTO ONE 1. The Lord ( Visnu ), the spouse of Laksmi, who has a chaplet of peacock-feathers, who is honoured by the side-glances of loving Gopis and who has himself become the "adopted] son of Yasoda, adorns the settlement of cowherds. 2. O wise people, do you receive the story of his slaying of Kamsa, which, in fact, is pleasing like nectar and which I narrate ever clinging to the feet of teachers, [ and being ) urged by the quality of devotion. 3. Now, once upon a time, when the elder brother of Gada (i. e., Krsna), accompanied by his elder brother (i. e., Balarama), was strolling in the yard of the cowpen where there were ladies engaged in milking the cows in the evening, he sees the son of Gandini (i. e., Akrura) approaching him in front. 4. [ Akrura] who was paying homage there seeing the (particles of ) dust on the ground marked with [ the signs of ] lines, chariots, conchs, lotuses and banners; whose body was covered with horripilation, was wet with tears of joy and was blooming; 5. who was blinking his eyes at every moment in meditation; who had placed his folded hands on his head that was bending; and who was coolly meditating on the flashing self that was in front of him and that possessed infinite wonders. 6. Nothing from outside disturbs an individual who greatly experiences the happiness [ of the realization] of the great Brahman, who does not see the range of objects round about him, who does not hear the loud noise that is set out (round about him), 7. who is weeping for a moment and laughing now and then, who is standing breathless like a pillar for a moment and who is

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134 walking about for a moment, and who is talking aloud for a moment and who is [standing] with the mouth closed as through vanity. KAMSAVAHO 8. That ocean in the form of Acyuta, who was adorned with circles of foam in the form of strings of pearls that were heaving and clashing as he was happily strolling with hurried steps, rises up to receive him (i. e., Akrura) who was like a river flowing towards him. 9. Taking him by the lotus-like hand, the son of Devaki (i. e., Krspa) leads him home, inquires about his health, offers him dainty meals, and further speaks something [thus] : 10. "O Akrura, looking at you (who are) an affectionate relative (of mine), my mind has become bloomed [with joy ]. Ah! is this surprising that the Kairava-lotus immediately blooms when the moon has arisen?" 11. [Akrura addresses Krsna:] "I think, strong as you are, you live somehow with (your) splendour eclipsed, in fact, by the outshining lustre of the king of Bhojas (i. e., Kamsa) like lamps by day (with their light eclipsed by the outshining lustre) of the sun." 12. [Krsna says: :] Inasmuch as those parents of ours are undergoing imprisonment, though [we] the two sons are safe [here], people are saying: 'Surely, to have no son is better than having a bad one'." 46 13. "How can we abandon even these [foster-] parents who nourish our bodies and who are affectionate like our mother and father? Will not great men detest those that follow the way of the cuckoo in this world?" Will you tell [us] After saying this, 14. "Or there is no need of too much talk. what is the occasion for [your] arrival?" Madhava (i. e., Krsna) stops, for pious men talk in measured words.

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TRANSLATION, I 15. Hari (i. e., Krsna) is addressed thus by Kamsa's messenger whose character is pure and whose head is bent [respectfully] : 'To have an excellent and agreeable audience with yourself is the special purpose of our arrival'. 135 16. You whom search for long even the great ascetics that have cast off worldly] attachment, that travel along the path of the Vedanta [philosophy] and that labour hard in the practice of Yoga-exercises such as self-restraint etc., have been visible to me (lit., have come within the range of my sight) through my good luck. 17. Victorious are my eyes by which is being tasted (i. e., seen ) your face which is an unique abode of the qualities of well-formed beauty, which is similar to the lucid full-moon and which is sparkling with a smile. 18. O Madhava, that the festival of seeing thy face eye to eve is prohibited by your maternal uncle who is, as it were, a mass of sin spreading out, is indeed a perversity of fate. 19. Indeed, fate is pleased with me now; indeed, there is a great accrual oi merit to me that today I have been despatched to you on an important mission by that very king of Bhojas. 20. O Madhava, listen what that maternal uncle of yours, who is ever agitated by fear, aims at: now he wishes to cheat even you who bestow on the world very great prosperity indeed. 21. Verily that miscreant prepares himself now to crush you to destroy whom, of long arms, Pralamba, Kesin and others were not able. 22. O Lord of the three worlds, that wicked king, seated on the dais, conspires with Kumbhiraja and the Mallas to kill you [after inviting you] with the pretence of bow festival. 23. Whatever that wicked king told me in private, having called me[to himself ], you hear that as well: "O Akrura, quickly go to Gokula and further talk to those boys, Rama and Kesava [thus 24. In a big hall at Mathura, guarded by the arms of the king

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136 KAMSAVAHO of Bhojas, the consecration of a bow is being celebrated; if you have any curiosity to see that, then come along and attend the festival. 25. Let that Nandagopa also, accompanied by friends and relatives, come quickly to my abode; I have great eagerness to see you [all]": thus it was all pronounced by him. 26. Such is the (outward) form (lit., body) of this affair wherein, indeed, breathes the [ spirit of] fraud. O son of Nanda, you may or you may not go: it is not for the messenger to persuade or dissuade. 27. The son of Rohini (i. e., Balarama) speaks to him (i. e., Krsna) thus: 'O brother, [my] curiosity gets excited (lit., starts), because there is a bow-festival; and it gets damped (lit., vanishes), because it is an occasion for treachery: [so] the fixity of my mind is divided'. 28. [Then these words are uttered by Vanyamalin (i. e. Krsna): "O destroyer of Pralamba (i. e., Balarama), away with ( this ) meaningless conjecture; it is only for the ill-behaved (lit., those that are ready for unworthy acts) that there are enemies. Whence is [there] any fear for us who are following the path of duty? 29. Well, if an ordinary man were to act rashly, indeed he would himself come by his ruin. Is not a swarm of moths, which is out to swallow a burning flame (lit., enkindled fire), burnt down? 30. No one, whose ways are crooked and full of vanity, can dare touch us who are of pure character. Tell (me), can the darkness of night darken the brilliant clusters of stars in the sky? 31. The strength of arms of one who is full of the pride of his arms becomes manifest only in the midst of enemies. Does even the multitude of the flames of fire burn by itself without fuel? 32. Now, we will all set out together taking the lead of the chiefs of Vraja without being confused, with poles and pots, and mounted-on carriages; let the king of Bhojas (i. e., Kamsa) be honoured."

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TRANSLATION, I 137 33. ( After ] speaking thus, the son of Devaki (i. e., Krsna) gets into the chariot with Balarama ( lit., one who has a plough in his hand ); and suddenly by his side the son of Gandini (i. e., Akrura ), with reins between his fingers (gets into the chariot ]. 34. Happily spending the night, himself sleeping in the palacelike chariot itself, Madhava started (on his journey ] early in the morning accompanied by Nandagopa and others that had gathered together (there). 35. Then, hearing the report of Ksspa's ( lit., one whose banner is marked with the eagle ) departure, unbearable to the ears, the Gopis, who are afraid of separation, begin to lament with their words broken by the water of tears trickling as for as necks. 36. Alas! doubly cursed are we, the cowherd ladies! What grace is there in Nanda's home without Nanda-prince, as on the head of Sambhu without the crescent moon (lit., young or not fully grown moon) and as on the chest of Visnu without the Kaustubha ( jewel)? 37. Alas! verily ridiculous is our heart which even now follows that cruel person who suddenly went away ruthlessly renouncing us who have no other patron. 38. What shall we do here, [inasmuch as ] the heart of young girls is fixed on a meritorious person? (For] it is not possible to drag away a swarm of bees [ settled ) on a tree fragrant with fine flowers. 39. Really Janardana is our vital life; the wicked person, by whom he was led away far off, came here ) verily as a messenger of the god of death and not as a messenger of Kamsa: thus you { should ) understand, O Gopis. 40. The etymological formation of the word Akrura is necessarily ( made] thus in is case: 'No one other than he is cruel (krura)' Just as the word A-ghora (i. e., non-terrible) denotes isvara of terrible form, so we think [ with regard to Akrura as well). 41. O (Gopis ), you remember (hereafter) only Hari's figure

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* 138 KAMSAVAHO which has dark and delicate radiance like that of an emerald; which has peacock feathers adorned by his glossy hair; which has large eyes like blooming lotuses; 42. which has the lunar orb [in the form of its perfectly beautiful face (attended) with moonlight [in the form] of brilliant radiance of the flashing teeth; whose chest is ablaze with the lustre of the Kaustubha and the strings of bright pearls; which has a distinct mark of (Sri-)Vatsa (on the chest); 43. which is distinguished with extremely tender and creeperiike arms that surpass the beauty of the body of a serpent; whose hips are covered with a yellow garment which is hanging down from a golden belt that is overspread with the lustre of jewels; 44. whose lotuslike feet are overspread with the lustre of the nails, are clear like the brilliance of the sky, and are red and radiant like coral; and which, for a moment, rouses the passion of cowherd girls by its side-glances lit up (lit., moist) with the pleasing smile. 45. O beautiful girls, let not the various novel sports, which were indulged in by Janardana on the banks of Yamuna and which were vigorous on account of the crushing of beds made of fresh leaves of Nicula creepers, be forgotten. 46. Where, in fact, stands as a witness that cane-creeper, growing on the bank, whose clusters of flowers are plucked, which is full of bees hovering round on the tips of bending stalks and in which are concealed the echoed notes of parrots. 47. Where, as a matter of fact, the forest-trees, which have put forth (their) sprouts by reason of their] tasting the nectar of the pleasant notes issuing from the hollow of Mukunda's flute, ward off the summer heat for us, though [they are] withered by the heat of conflagration. 48. Where the sylvan breezes, which are moist and cool on account of the contact with the waves of Yamuna ( (lit., the

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TRANSLATION, I daughter of Kalinda) and which are loaded with the pollen of lotuses, act the part of fans for us who are sick with fatigue. 139 49. Where the clouds hanging on the slopes of the mountain Govardhana and possessed of thunder and lightening are like companions who have accidentally come and who are bent on chasing away the vanity of us here. 50. Where, for us, Vrndavana was an unique rendezvous; the moon himself, a jewel-lamp; the heap of the leaves of trees, a fresh bed; and the vernal flowers, the [various] ornaments. 51. O young ladies (walking gracefully like elephants) that time is gone; let us bid farewell to [our cherished] desires, because the person, who was the root-cause of all the happiness and who was like a salve to the eyes of people, has gone away. 52. When, indeed, shall we see, for a moment, Krsna's lotuslike face which is shining with earrings that are dangling on the cheeks and have a clear hallo of light and whose pink lower lip is like a fully ripe Bimba fruit? 53. Surrounding [him] by these arms, when, indeed, shall we embrace his broad chest so as to crush the brilliant garland of wild flowers by the impetuous pressure of [our] swelling breasts? 54. Rushing forth with speed and behaving according to our desire, when, indeed, shall we drink the nectar of the lower lip of him (i. e., Krsna) who is standing fearlessly in the heart of the rendezvous bower and who is waiting (for us)? 55. Then that son of Gandini (i. e., Akrura), who came (back) at the instance of Mukunda, respectfully spoke something to those ladies who were lamenting thus and who were suffering from excessive sorrow at the separation from their beloved. 56. O Abhira ladies, verily you are lamenting in vain being nervous and perturbed. How can that Hari, who is devoted to you, forsake you, [who are ] of tremulous eyes, even for a moment? 57. Being nailed by the arrows [in the form of the side-glances discharged from the bows [in the form of your arching eyebrows, how can he waver [in his devotion]? Now you should patiently bear his rash departure on an important mission.

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140 KAMSAVAHO 58. Does not the moon, that sinks in the ocean [ early ] in the morning, come up (again) in the evening ? No more sorrow; for you, who are graceful, the return of a person who has gone away is not a rarity. 59. Like lotus plants (waiting) for the sun who illumines the whole world and who expells the spreading mass of darkness, you wait for the return of him (i. e., Krsna) who bestows the light (of knowledge) on all the people and who removes the mass of ignorance. 60. That cloud [in the form ] of the messenger of Madhava appeases with extremely cool showers of water (in the form ] of words the flock of Cataki birds [ in the form) of the party of Vraja ladies that was tormented by the hot summer (in the form ] of the misery of separation. 61. Then, at the dawning of the day, the son of Gandini (i. e., Akrura ), immediately mounting the chariot occupied by Hari, acquires a rare and auspicious beauty pleasing to the rows of lotuslike eyes of men, just as Kasyapi (mounting the chariot occupied by the sun acquires a rare and auspicious beauty which is pleasing to the beds of lotuses ). 62. Accompanied by the cowherd chiefs, Madhava, driving (lit., going) in a chariot that surpassed the wind by its speed, reaches the bank of Yamuna (lit., the daughter of the sun ) where the Tamala trees on the slope are struck by series of waves similar to the rows of the peaks of Krsna-giri. 63. That son of Gandini (i. e., Akrura), bathing in the waters of Yamuna, had his body bristling with hair-ends through surprise after seeing Vasudeva even s in the waters ] there like a reflection. 64. Then, after crossing that (river Yamuna), that slayer of Madhu (i. e., Krsna), who is pleasing and sweet to the young minds, enters the town, Mathura by name, accompanied by his party; and there, passing through the streets, he gives excessive pleasure to the ladies just as the moon to the night-blooming lotuses. Thus (ends) the First canto in the ( poem ] Kamsavaho composed by Rama Panivada.

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TRANSLATION, II 141 CANTO TWO 1. Now, Vanamalin (i. e., Krsna ) who was wearing a garland given by a florist and Musalin (i. e., Balarama) see a certain washerman going by the royal road and carrying a load of washed clothes. 2. He was asked for clothes by the princes whose faces were charming with a gentle smile, [but] the vile servant of Bhojaraja, who was obstinate with excessive vanity, gets angry and speaks { thus ) : 3. "O boys, why are you tlus talking about this matter ) which, indeed, cannot even be thought of? What would not the black snake, which indeed bites even when threatened ( from a distance], do when touched [ actually) ? 4. Not only that these clothes of Bhoja king, asked for [by you] will not be obtained, but also you ( should ] know that verily this itself would become, Alas, the cause of even your decapitation. 5. Evidently the wretches invite (lit., experience) their own ruin by uttering unspeakable words. Do not the moths die in the fire by [ reason of their ) possessing ( wantonly) futtering wings? 6. Well, let it be, only once I ( may ) put up with your boyish pranks; ( but ) the king, who is devoid of (any) affection, would not tolerate these, if he hears them. 7. After speaking thus bitterly, when he began to proceed simply laughing, all of a sudden the clothes were taken away by the slayer of Madhu (i. e., Krsna ) from his hands. 8. Then the lord of Laksmi, suddenly injuring it (i. e., the head) by the points of his nails, knocks down the head of him (i. e., of the washerman) who was thinking of attacking him and who, with excessive anger, had hurriedly raised his hand armed with a stick. 9. The soul of the washerman, becoming lighter than ever and having become pure on account of the washing away of its sins, enters imo eternal light; and (at the same time, the pile of

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142 KAMSAVAHO clothes, becoming lighter than ever and having become pure on account of the washing away of its dirt, enters into the possession of] Vasudeva. 10. With white robes put on, his body, which is blue like the Tamala tree and which is attractive with a shining girdle of gold, shines brightly, as does the peak of the Blue-mount, beautiful with its slopes bright with gold, on account of the rays of the moon. 11. Then he sees a certain humpbacked lady whose appearance was attractive to the eyes though her slender body was bent and who was as it were the (bent ) bow of Cupid. 12. Going nearer, Hari asks her who was gradually coming (to him ) carrying in her hand a jewelled pot, full of saffron, that was followed by bees. 13. "O young girl of crooked glances (lit., eyes ), whence do you come, [and] how is it that your body is bent ( like this ]? O (you) of beautiful form, to whom are you slowly proceeding to give this soft saffron ? * 14. Then she speaks ( in reply]: "On me strongly works the adverse power of fate that has produced even in my body (that) crookedness which is known [to exist ] in the heart of women. 15. O handsome one, [just ] hear, I am a modest artisan residing in the king's harem; and I am going to the mansion of king Karsa in order to give him [ this ) saffron. 16. Tender is this your body and ( quite] fragrant is this saffron-paste; so let your honour alone accept this, because the meet ing of the like leads to happiness." 17. Thus Krsna and Rama, with (their ) limbs fully anointed with the saffron given by her, glitter like Sinduvara tree with flowers and buds lit up ( lit., being touched ) by evening twilight. 18. Slowly catching that lotus-eyed (woman) at her chin with his tender hand, Krsna then made that humpbacked lady straight with her moonlike face turned aside with obvious bashfulness. 19. Just as the crescent of the moon, though curve in the

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TRANSLATION, II beginning, becomes full on the full-moon day; so she became at once full of the moonlight [in the form] of pleasant and delicate loveliness. 143 20. After saluting Nanda-prince that had come too near her, the fawn-eyed lady, who was carrying [in her heart] the dart of love's uneasiness, addresses (him) with words that had shaken off the fetters of bashfulness. ) 21. O illustrious one, can it be that the god of love, who has conceived hostility towards you, thinking that he is vanquished by this your superb physical beauty, is tormenting me because I am compassionated by you now? 22. I think, the god of love (lit., the god with an odd number of arrows) nowadays prepares (his) arrows with the flowers of poisonous trees; otherwise, how is it that with mild ones (i. e., arrows) my heart would be tormented (lit., burnt) and be led to infatuation by him? 23. O you of lovely form, with [your] side-glances, which are speckled [black and white] like the variegated skin of a spotted antelope, oblige me whose mind is tormented by the terrible fever of Cupid and who have been made helpless though a mistress of my own self. 24. Your delightful image is reflected in (my) heart which [consequently] possesses a glossy and lovely grace of yellowish blue; with my jarlike breasts I would fain} wipe off the saffron that resembles the glow of minerals on the Krsna-mountain." 25. Then Vasudeva spoke [thus]: "O you with lovely brows, it is a very great audacity on your part; [for] you have taken away from me, i. e., you have anticipated] whatever words I wanted to say. 26. Does the goose wait for courting words [from the lotus plant] under the semblance of the humming notes of bees issuing from [its] blooming lotus-mouths? But on the contrary] he [ makes advances towards the lotus plant as soon as he sees it.

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144 KAMSAVAHO 27. O proud lady, I, who am occupied with an important business, have no leisure to embrace your jarlske massive breasts: it is only a man of leisure that can afford to indulge in love affairs. 28. I shall come ( back ) as soon as I am free from the shackles of the king's service: even that moon, whose appearance is screened by clouds, is not able to touch the water lily. 29. And thereafter, let the sports desired by [our] hearts extend over the nights bathed in moonlight like the utterances of gifted poets in the assemblies of appreciative people." 30. Thus addressing that pleasant-looking lady and bidding good bye to her who was really satisfied [ by his assurance ), Krsna accompanied by his elder brother proceeded with his people, and gradually enters the royal residence. 31. There, even the common people, whose curiosity bloomed at the sight of the dignity of the splendour of their glorious and extremely shining bodies, point out the path to him: whom do the meritorious not attract ? 32. [Then ] the enemy of Madhu (i. e., Krspa) enters the gymnasium for archery which was lit up by the flames of jewellamps, in which clusters of garlands were hung on golden pillars, and which was full of the fragrance of bdellium and insense. 33. Taking the bow that was decked with manifold fragrant flowers by (his) tender hands and stringing it in mediately, he pulls it clasping it by the fist. 34. No sooner the words of the servants, "O boy, do not, do not touch that bow honoured by the king" are heard, than the bow is broken by the slayer of Madhu (i. e., Krsna). 35. Is this thunder? [But] whence (can there be ] a cloud ? Or is it indeed the roaring of the Man-lion that has returned ? Kamsa had his mind thus disturbed with hundreds of thoughts by (hearing) the sound of the crashing of the bow. 36. Then Rama and Krsna fierce with anger, crush in a battle, with broken pieces of the bow, the soldiers cn guard that were assailing and insulting [them) with harsh words.

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TRANSLATION, II 37. When Vanamalin (i. e., Krrsna), like the sun, is shining, the minds of good people, like day-lotuses, bloom (with joy); while those of wicked people, like night-lilies, are contracted. 145 38. Then the son of Devaki (i. e., Krsna), coming with Rama out of the gymnasium for archery and being gazed at (lit., drunk) by the eyes of young ladies, moves about visibly in the open space of the yard. 39. Coming to the capital of the Bhoja king and looking with gratification at the royal residence, he gradually addresses Rama in detailed words and in a pleasant manner. 40. Behold the sweetness of our town Mathura which is praised by the world and which drives away the chariot of the sun due to its stumbling against the domes of the series of jewelled palaces. 41. With fingers [ in the form] of fluttering flags on the hands [in the form] of lofty banners raised aloft, this [town], full of pride, browbeats as it were the city of gods which is humiliated by its prosperity. 42. This [town], in which hosts of Apsaras in the form of town-ladies are playng on the open flats on the tops of palaces which possess the beauty of the golden mountain (i. e., Meru) and which (town) stands in the midst of the ocean [in the form ] of the moat, itself assumes the glory of Jambudvipa. 43. The region of the pavement, inlaid with crystal stones and blended with the rays of yellowish blue dwellings, reminds us here now of the streams of Jahnavi (i. e., Ganges) joined by Yamuna. 44. Here in this town], without any apprehension, lovelorn ladies proceed to meet their lovers], even by day, along the streets that are obscured by the splendours, black like darkness, flashing from pleasure-mounts made of black precious stones. 45. Here, the sky being lit up (lit., besmeared) by the lustre of golden palaces, the Cakravaka-couples in the lakes, mistaking it (i. e., lustre) for the rays of the rising sun, do not get separated even pretty late at night. 10

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146 KAMSAVAHO 46. Here the masses of the splendour of the jewels on the ramparts, which emanate in the form of a circle and touch the sky, brighten for a while the luminous hallo of light of the sun and the moon. 47. The heavenly breeze steals the pearls under the guise of the drops of perspiration on the moonlike faces of lovely women loitering in the round enclosures on the turrets of gates. 48. Here [in this town), the youths, cohabiting with the moon-faced ladies in the interiors of moon-stoned dwellings, do not, indeed, experience the exhaustion of love enjoyment even on the gloomy summer-nights. 49. This [town of Mathura ], with its head [in the form ] of lofty palaces lifted up and with its eyes ( in the form ] of circular windows dilated, is, as it were, looking eagerly at the earth which has a girdle-band ( in the form] of the ocean. 50. Here, the young trees in the pleasure-grove perform the function of washing the feet of guests with the water (in the form) of the trickling juice of flowers and make an inquiry about (their) well-being with the notes of cuckoos. 51. Here, the breezes, loaded with the moisture of the lakes and charged with the delicious fragrance of lotuses, are indeed ever ready to allay the increasing sexual exhaustion of the couples. 52. Here, in some places, the bees, which are swarming on the ground that is slimy with streams (oozing ] from the fountains of the temples of constantly infuriate elephants, create the illusion of a pavement of (blue) sapphire stones : is it not so ? 53. Here, the peacock dances, day to day, in some shelter which is constantly sprinkled over by streams of water splashing with a rustling sound as they issue forth from the channels of water-jets without any hindrance. 54. Here, somewhere, is heard the sweet and loud sound of a tabor which is deep and [therefore] resembling the thunder of clouds and which is a signal to the gesticulations of actors in the

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TRANSLATION, II midst of musical concerts that are displayed with the observance of tempo. 147 55. Do you hear, somewhere in the liquor-clubs, at the time of dance, the singing of maidens from the eastern countries which is vehement due to the effect of intoxication, which is charming, and which resembles the sound [issuing] from the throat of a cuckoo. 56. Yonder [you] hear the sound of the disputations of grammarians like this: [ some maintaining] 'the sutra (anaci ca), which defines the. (retrospective) influence of a following letter (in duplicating the immediately preceding), is inoperative, because the substitute-letter has the same value as that of the original one'; [ while others argue] 'it is operative in the matter of changes due to any letter'. 57. This town of ours, which is (rendered) resonant in some places by hosts of bards that are uttering panegyrics (lit., glorificatory verses), though seen for a long time, does not, indeed, [ permit us to ] divert (our) eyes elsewhere. 58. Are there no Gandharvas here? Are not the Vidyadharas , indeed, found (here)? Is there not the fine party of Caranas (here) ? Are not the Kimnaras triumphant (here) ? Is this not an abode of the gods ? Is not the great Indra the lord of it? This charming abode of wealth which is glorious with the possession of religion is heaven itself (which is an abode of gods that is glorious with the Sudharman hall). 59. Here, the beautiful ladies, whose passion is excited by the loud shrieks of the violently dancing peacocks that are full of eager longing on account of the splashing sound of rain-showers discharged by massive and thundering clouds that are clinging to the peaks of pleasure-mountains, and who are affectionate (lit., wet) with great attachment, though refractory in love, embrace (lit., cling to the necks of) [their] beloveds, closely and impetuously, bri ging together (i. e., pressing) the golden jars [in the form] of their swelling breasts.

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148 KAMSAVAHO 60. Thus, when that son of Vasudeva (i. e., Krsna), after personally summing up , at ease, hundreds of utterances detailed on accoun of the abundance of topics , approaches his residence, at that time the sun as well [ approaches ] the peak of the western mountain. Thus (ends) the Second Canto in the (poem) Karsavaho. CANTO THREE 1. The sound of the drum, which is begun early in the morning and which is the Sutradhara that comes forth first at the commencement of the wrestling fight which is like a dart to the heart of adversaries, announces, as it were, to the parties of bards, the passing of the ( appointed ] time of awaking. 2. The bardic party, constructing poetic compositions with words full of sentiment [ and hence .] resembling (iva) the waking genius of a wise poet, gradually proceeds to wake up the sleeping lotus-eyed ( Krsna). 3. Hail! O blessed one, may the dawn, which is indeed the occasion for a happy waking and which is attended by restless swarms of bees that are [ as it were ] the side glances darted by the lotus-beauty, bestow good fortune on you, the preeminent one. 4. This lord of night (i. e., the moon ), seeing the prospect of the loveliness of your face outshining by the beauty of its eyes the darkness of his spot, has stepped away with stealthy steps (even] before your waking up. 5. O descendent of Yadu, these stars of your eyes (i.e., pupils), on (your) waking, will favour all the people; and behold, on account of them, those other stars in the sky) (will) indeed quickly grow pale through (a sense of] shame. 6. In the light of the moon the masses of darkness remain, indeed, somehow sheltered by the shade of trees; [but] now, in

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TRANSLATION, M 149 the flash of the light of your moonlike face, they disappear suspecto ing their destruction. 7. O blessed one, the sun has arrived hastily in order to touch with his rays (kara) the contracted lotus-face of the lotus plant which (face) is pale with the pangs of separation, even as you go to caress with your fingers the contracted lotuslike face of Radha haggard with the pangs of separation. 8. O Mukunda, the rays of the moon, with their garments [in the form) of pleasantness dropped away unknowingly, have disappeared somewhere being afraid of the sun who has been for a long time preparing (himself) to rise, just as the soldiers of the enemy, being afraid of you who have been for broaring (yourself ) to rise, (have disappeared somewhere with their garments dropping down unknowingly through fear ). 9. Now that the night, the cause of separation, has vanished, the Cakravaka birds meet their mates, just as the good people meet the series of your compassionate glances when their array of sins is pacified. 10. Seeing a swarm of bees hovering within the slightly opened calices of lotuses, Oh, we remember your eye-pupil which is moving unsteadily within your ) large eyes that are gradually opening as you wake up. 11. This cluster of the rays of the dawn, which is reddish like the Bandhuka flower and whose glow is slightly blended with moonlight, captures our attention like your lower lip which is touched by the lustre of (your) very bright teeth resembling a string of pearls. 12. O Krsna, the emerald pavement, suffused with the reddish rays of the sun, shines like the (dark) region of your chest imprinted with the saffron from the massive and jarlike breasts of the cowherd girls. 13. O Vasudeva, waking up (i. e., as you wake up) you too make the lotuses of your eyes bloom, [even) before the lotus-pool voluntarily opens ( its ) eyes in the form of [lotus-] buds.

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150 KAMSAVAHO 14. These sun-stones, pierced by the rays of the sun, begin to emit heat: even the insignificant do not tolerate the display of others' lustre, then what of great men like you? 15. This red glow of twilight, [which is indeed] a stream of blood, flows forth from the frontal region of the mighty elephant [in the form] of darkness, which (frontal region) is wounded by the claws of the fierce (sphuta) lion [in the form] of the sun and from which pearls [in the form] of stars are falling down on account of the mangling. 16. The bee, leaving immediately the night-lotus bed which is closing (lit., sleeping), resorts to the day-lotus bed which is blooming (lit., waking up), because, for one who has many beloveds, there is no hindrance anywhere in the matter of ever new lovesports, as in your case. 17. The reddish mass of the sun's rays causes the saffron-paste, (which was painted) on the large jarlike breasts of unchaste women coming out from [their] lovers' houses and which has been rubbed off by the chests of their beloveds, to look as if it has been applied once again. 18. And further, this (mass of the sun's rays), appearing in contact with the water of the (eastern) ocean, causes the suspicion of the bright submarine fire; and on the heads of elephants it intensifies the reddish hue of the vermillion powder. 19. Surely, let this lustre of the sun, which looks like a piece of broken coral, freely flash on your sapphire-blue chest, so as to acquire the loveliness of the saffron mark left [there] by the massive breasts of that Laksmi. 20. Behold this orb of the rising sun which is an ornamental coral ring on the ear of the lady in the form] of the East, which is a thousand petalled lotus in the lake of the sky, and which is a dome on the jeweiled palace [in the form] of the eastern mountain. 21. Janardana, who is awake even before the out-pouring of suchlike eulogies of theirs, [then] leaves his bed: [for] the

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TRANSLATION, I 151 lotus-plantation blooms first, and then indeed spreads out the cackling of the royal swans. 22. Early in the morning, he, like the sun that pervades the region of the sky with the exuberance of the splendour of his brilliant body, becomes visible to all the people whose minds are intent on the aim of serving his feet. 23. Then he proceeds towards the city-gate [after] saluting the twilight which is red like a blooming Japa flower, which looks like a maiden's lower lip red with betel-chewing, and which is reminiscent of the moonlike face of Radha. 24. That Kesna, whose chest is beautiful with a dangling necklace, (while) following Balarama whose body has a snowy lustre, looks very well like a fresh blue cloud shot with (a streak of] lightening following the moon. 25. Then throbs the left eye of his mother, who was afflicted with sorrow over many a day, and (so also i of the enemies like Kamsa and others who had resorted to trechery and of the athletes who were wretched by nature. 26. Rama and Krsna, who shone with the splendour of their costumes and with their manifold graces, gradually pass along the road which is decorated with glistening emeralds (in the form] of the continuous brilliance of the side-glances of town-ladies standing on the turrets of palaces. 27. At the gate, according to the king's command, Ambastha tries to stop by means of an elephant that lord (Kespa) of irresistible valour like a person trying to screen the revered sun with the umbrella [in the form] of his hand. 28. That crooked-minded (Ambastha) urges on the emirent elephant, Kuvalayapida by name, whose huge tusks were hard like thunderbolt and who looked as if he were Airavata himself sporiing on the earth. 29. "O naughty (lit., unrestrained) boys, why do you rush into the presence of this rutted elephant, that is the very yard of Yama's

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152 KANSAVAHO house, to court (your) death? Get aside immediately:" thus speaks the elephant driver with vanity. 30. "If you do not turn aside the elephant, then he would not remain alive even for a moment:" after speaking thus, Hari, who is fierce in action, accompanied by his brother, began to overpower him. 31. Dragging bim (i. e., the elephant) with his arms, Mukunda disports turning round and round the elephant who was wet with streams of rut overflowing from his wounded temples and who had a snakelike chain fastened round his waist, as (it was done] formerly [with] the mount Mandara ( which was wet with torrents of water rushing from its broken sides and which had a snake passing round its middle part). 32. Then knocking down that enraged elephant who was indulging in useless sport [in the form] of circular movement with his trunk formed into a ring, he (i. e., Krsna) strikes him with violent slaps on the termple that was swarmed with bees. 33. When, in [course of] the sport, Hari clings to the earth, that great elephant, which pierces the ground [in order to strike him) with the pair of tusks, is not able to pull out the same as it sinks there. 34. Then Krsna, with his mind enraged, stepping within half a moment on the temple [ of the elephant] with the left foot, pulls out with both hands the pair of his tusks with [their] root-bonds broken and loosened. 35. When the great elephant falls down like the Black mountain that was tossed away with the wings broken by the thunderbolt, verily the globe of the earth trembles as if dislodged from the multitude of the hoods of Sesa. 36. How long does the great elephant move voluntarily along the path trodden by Ambastha ? Thinking thus Vasudeva sends, at that moment, [that] wicked Ambastha, indeed, along the path trodden by the great elephant.

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TRANSLATION, WI 153 37. Then Rama and Krsna, roaming in the residence [of Karsa), like sun and moon in the firmament, characterised by excessive heat and gentleness, bestow on some the blooming due to joy and on others fading (due to sorrow]. 38. All the people immediately achieve, according to their desire, the purpose of the existence of. (their) eyes, after seeing, to their satisfaction, those [Rama and Kesna] whose chests have rolling and brilliant sylvan garlands and who are sporting carrying the tusks of the great elephant in their hands. 39. The faces of those, who bear hatred smouldering (lit., standing) in their hearts, become completely faded at that time: the forest-fire, present in the hollows of trees, ever fades (their) flowers. 40. Then those well-accoutred athlete-fighters, who had pledged themselves to conquer the Yadu princes and who were directed by the vile king, go forth rapidly to attack them like wild elephants (that go forth to attack) the lion-cubs. 41. Then both Canura and Mustika, who were awake and who shone with the sprouts of vanity as though sprinkled over by the shower of the glances of their master seated on an elevated platform, personally protect the entire army of Mallas. 42. Canura, advancing towards the slayer of Kaitabha (i. e., Krsna), proudly speaks thus: "O son of Vraja chief, the king of Bhojas (just) waits here wishing to see your skill in the art of fighting 43. It is the king alone that is skilled in the science of archery, and it is the cowherd (i. e., yourse , alone that is expert in the technique of fight. In whatever (department) one makes excessive efforts in that one becomes adept. 44. How, indeed, can this competition with the wrestlers of great valour be difficult for you? As a matter of fact, were not the Daitya heroes such as Pralamba, Kesi and others killed by you, [when you were] just a child ?

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154 KAMSAVAHO 45. Verily, therefore, both of you fight a duel, according to the regulations (of the duel), with two wrestlers; let the Bhoja king, who is full of curiosity, know for himself the relative excellence of the strength of arms of us [the fighting parties]." 46. Hearing his words thus, Krsna, being pleased, gets prepared and occupies himself with him [in a duel]; and Balarama (lit., the pestle-bearer) also, being enraged, [occupies himself in a duel] with Mustika by means of his fists hard like the impact of the thunderbolt. 47. Theirs was a duel in which there was a mutual exchange of words harsh with reproach, in which arm-locks were being adopted, unfastened and dropping down, which was terrible on account of the clear and shrill sounds of (mutual] striking, and which agitated all the three worlds. 48. These [fighters], who drag with the pair of their hands the knees and shanks (of the opponents), whose limbs are broken and besmeared with blood in course of the conflict and by whose wild movements the circle of the earth was made to tremble, begin to display manifold feats of valour. 49. "Alas! what hard-hearted (person) would impell the tigers to fight with the youngs of hares? Let us go away, this is an unfair duel not to be witnessed": so speak the good people at that time. 50. Holding Canura by both of his feet, Krsna dashes him with a crash on the ground; and similarly, in fact, his elder brother (strikes down) that wicked Mustika: [thus) both the wrestlers met their end. 51. In fact so many wrestlers, that were fighting, were killed by the elder brother of Gada (i. e., Krsna); and so many, that were frightened, took to their heels: when the sun is distinctly arisen, even the planets are wiped (out of sight), then what of the swarms of fireflies? 52. "Let these boys, that are bitter by nature, be imprisoned per force, and let even these cowherd parties be killed violently;

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TRANSLATION, IN 155 know that these deceitful ones would destroy you, if they are let loose ": thus speaks the king of Bhojas at that time. 53. That Krsna, who destroys the sufferings of those that are devoted to him (vinata-arti-bhaniana), assails that Karnsa who possessed a wicked intention, who was crooked by nature, who was terrible like a black serpent and who was seated on a platform, just as the lord of birds (i. e., Garuda), who destroyed the sufferings of Vinata, attacks a terrible black serpent that has excessive poison and that is crooked by nature. 54. No sooner Karsa gets up holding the sword and shield in both of his hands and begins to strike him, than the destroyer of Madhu (i. e., Krsna) forcibly makes him fall on the ground from the elevated seat within a moment. 55. Jumping on his chest which was moist with the sandalpaste on the broad region of the breasts, that Krsna, sword in hand, quickly so cuts the bone and fat that the king becomes (merely] a legendary remnant. 56. Pitilessly dragging his body, which is sprinkled with blood coming out of the mouth, that eagle-bannered (Krsna) attains, according to his pleasure, the pacification of [his] enmity at thai moment: verily anger agitates the hearts of even the great. 57. At that time a shower of flowers from the celestial trees (viz., Kalpaveksa), which is noisy with the murmers of series of hovering bees and which is let down by the hands of gods, falls from heaven on the head of the lord of Laksmi (i. e., Krsna) which is decorated with peacock feathers that are flashing in the glossy and thick locks of hair. 58. Apparently the heavenly nymphs, with mutual jealousy. dance voluntarily in the firmament; celestial drums, excited by heavenly breezes, sound deeply; and the earth is full of loud sounds of the furious, outbursting and joyful trumpeting of the party of quarter-elephants with the streams (of rut) from the fountains of their temples let loose (lit., burst).

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156 KAMSAVAHO 59. Then the eight youngest brothers of (that) king, who were uppermost in harsh horselaugh etc., though wicked and enraged in thought, joined the company of gods on account of their being killed by Vistarasrava (i. e., Krsna). 60. Thus, the sun (in the form) of Mukunda, whose splendour is beneficial, who has driven away the darkness { in the form] of enemies by the sunshine [in the form) of the excessive valour of the wealth of his arms, who is a [great] hero, and who is preeminent in spotless virtues, makes the multitude of lotuses (in the form] of the minds of wise people fully blooming in this world. Thus (ends) the Third Canto in the [poem] Kamsavaho. CANTO POUR 1. And afterwards, the cloud ( in the form) of Krsna verily sprinkles with the showers of (his) beautiful (lit., the wealth of ) side-glances the living world that was being burnt by the pressure of the summer-heat ( in the form ) of the valour of arms of the Bhoja king. 2. When the king Kamsa went to destruction, great satisfaction pervades the minds of people, just as a party of swans (occupies ) the beds of lotuses, when the rain-cloud has fallen down ( in the form of rain). 3. Then the highborn (and virtuous ) girls move about openly and freely without any fear of (their) pure conduct being molested, just as the moon's rays being free from ( the tyranny of) darkness spread out openly and freely. 4. Then, though pleasant in the evening, the night, terminable as it is, causes pain to youths, because they are desirous of enjoying themselves with beautiful damsels without any interruption and without an end to their passion. 5. It is the amorous glance of clever ladies, which possesses passionate love, which is very cooked and which has the lustre of

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TRANSLATION, IV 157 a blooming lotus, that falls on the voluptuaries, but not the king's sword which possesses a passion for blood, which was curved and which had the lustre of a blooming (blue) lotus. 6. Then, having appointed Ugrasena as the emperor of Bhojas and Andhakas and as the protector of the subjects, that consort of Kamala (i. e., Krsna) releases (his) mother and father from the prison-house. 7. The hero among the Vrsnis (i. e., Krsna ), accompanied by his elder brother, approaching them (i. e., the parents ) whose eyelids were fringed with affectionate tears and mentioning his name; offered a prostrated salutation. 8. Indeed that Anaka iundubhi (i. e., Vasudeva), along with Devaki, congratulated these (Rama and Krsna ) with blessings consisting of worus hindered by tears: "O boys, may you be long-lived for long". 9. Crushing the shining garland of wild flowers, the father embraces their chest which was shining like clear crystal in the case of one and which had the lovely appearance of powdered collyrium in the case of the other 10. Then, having arrived (there ) and offering salutations, the son of Gandini (i. e., Akrura) utters pleasing words, which are arranged in the form of narrative and which are charming on account of their order (of events ), concerning the princes. 11. This is he whose body, blue like sapphire, having a garland of wild flowers rolling on the chest and equipped with four arms, and hence (a sight) to be seen, you are surely beholding as he appears in front of you). 12. And while you were crossing ( the river Yamuna) taking him (with you) on that cloudy midnight, that flooded river ( lit., the daughter of Kalinda), though overflowing the banks by its waters, became fordable with legs at that time. 13. Having put him on the bed of the cowherdess, her daughter was brought by you, O Sauri: considering the gravity of the

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158 KANSAVAHO occasion, people do not mind, in fact, the heaviness of the price (paid) in (a transaction of] exchanges. 14. Verily this is that same naughty (boy) who, failing to get the satisfaction of his ) thirst, drank, merely by sucking her breast, even the life of Putana that suckled him. 15. Indeed this is he by whom, (when) staying in Nanda's house, the Daitya hero, Ttgavarta (by name), was made nonexistent; and ( thus ] that (Traavarta who had assumed the form of a whirlwind or ] Cakravata (was made to be) a Cakravaka bird in the lake of Yama's realm. 16. Indeed here is he, the thief of cow-products, who was praised thus by jocular gods: "Let him steal (i.e., put down) all the vanity ( gavva=garva-) of the enemies: but why does he steal the dairy-products ( gavva= gavya ) of the cowherds who are his relatives ? ". 17. It is that very person who releases from bondage the people that are bound down by illusion, he himself, the noble one, was fastened to a mortar by his mother: indeed here he is. 18. O Sauri, formerly it was only one Arjuna, possessing one thousand arms, that was routed by Bhargava (i. e., Parasurama ); [but] by this ( Krsna ) a pair of Arjunas, that had more than one thousand arms [ in the form ) of long branches, was broken down. 19. In fact Bakasura, that tried, as it is said, to overpower him who was grazing his hundreds of cows, perished himself like a mass of darkness (that tries to overpower) the thousand-beamed sim ( who spreads his hundreds of rays in the space ). 20. That wretched Aghasura, that was himself lying assuming the form of a boa snake, was killed by him who, standing in (its) stomach, enlarged himself, just as a person of Karmic flaw (is killed) by the disease of spleen enlargement (which arising in the stomach becomes developed). * 21. He who began ( lit., begins ) to swing round this boy on the strength of maya (i. e., miracle) was himself deceived; in fact

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TRANSLATION, IV 159 Viridica (i. e., god Brahman), who fell in the deep ocean of maya, sought shelter of Kavaladdha-pani (i. e., Krsna ). 22. Indeed many days were spent by him in fondling sports with parties of cowherd boys at Vrndavana, on the pleasant banks of Yamuna and on the peak of Govardhana mountain which resembles a palace. 23. By this Bala (rama) was forcibly shaken the proud heart itself of groups of demons like Dhenuka (who assumed the form of a) Gardabha and others under the disguise of palm-grove; under the disguise of the copious water of its fruits the cause of the people's sorrow was drunk up; and under the disguise of the lives of the enemy the burden of the earth was removed effectively. 24. It is reported that Krsna jocularly addressed Rama thus : "Well, while grazing the dhenuka (i. e., cattle ) in order to protect them, why do you kill Dhenuka (i. e., the demon by that name) ? How can we rely on you?" 25. On one occasion, the Nanda prince, like the autumn, makes pure the water of Yamuna which was dreadful with the columns (lit., creepers) of the poisonous exhalations of the snake Kaliya like the sky with the ( masses of ) dark clouds. 26. Indeed this Damodara, who is comparable to the morning sun, who has put on the yellow garment that looks like reddish sunlight, and who is extraordinary with the merits of enlightening the lotuses ( in the form] of the eyes of the series of jubilant gods, began to dance quickly by simultaneously putting (both) the feet on the peaks (in the form] of the hoods of the mountain [in the form] of that great serpent. 27. The boy Gopala dances producing a tinkling sound of the anklets, bending the hood of the serpent by the pressure of (his). sproutlike feet, with the creeperlike girdle becoming gradually joose and with swarms of bees hovering round the hair which was attractive with a circle of waving peacock feathers.

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160 KANSAVAHO 28. Moreover, this ( Kyspa ) bestows shelter from Garuda on the serpent ( Kaliya ) whose vanity was completely gone: though good people, when displeased, are ( dangerous like ) poison, still they are indeed ( beneficial like ) nectar, when pleased. 29. Then this ( Krsna ), who is dark like sapphire, being decorated with clusters of Naga garlands that are offered to him by a party of Naga girls, looks like the clear sky with the stars. 30. Further, when bands of cowherds and cows were asleep, the lightening-like blazing forest-fire that was breaking out is drunk by him at once: every danger is possible in the case of the eminent ( people ) of this world. 31. Kamapala ( i. e., Balarama), who was guarding the flock of cows, getting angry, crushed with the fist [that] wicked Pralamba, a Daitya, a dependant of Karsa, who feigned to be a cowherd and who intended ( to play some ] trechery. 32. It is said, whenever any maidens sport in the waters of Yamuna, that Vasudeva steals their clothes, as if they were their clear hearts. 33. When, at a celebrated sacrifice ('held ) in a forest, he was turned off by the sacrificial priests who were asked for food, he gets tasteful and sweet food, along with respects, from their devoted wives; and he bestows liberation on them. 34. Diverting the devotion of Nanda and others from Purandara (i. e., Indra), he directs (it), in fact, towards the great mountain (Govardhana ), just as the day turning away the attention of the bees from the bed of night-blooming lotuses ( directs it) towards the plot of day-blooming lotuses. 35. Immediately digging up the great mountain Govardhana, making an umbrella [ of it), and taking (it) in his lotuslike hand, this boy Gopala stops at once the rushing shower which falls down in great abundance from the interior of the array of clouds that are thundering and ablaze with lightening and which clearly per. vades the surface of the earth.

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TRANSLATION, IV 161 36. Sprinkling this ( Krsna ), who was resorted to by Indra (lit., the enemy of the mountain ) whose fire of vanity was extinguished and who was pleased, with (the streams of ] milk flowing from her sponteniously oozing udder, the heavenly cow makes his title Govinda ( i. e., Gopendra) all the more appropriate. 37. Then, indeed, the jubilant beloved of Abhramu (i. e., Aira. vata), like an autumnal cloud, sprinkles him with the waters of the celestial river poured down from golden pitchers. 38. Well, on one occasion, Acyuta at once brings back, from Varuna's abode, [that] Nanda who had dived in the waters of Yamina and who was carried away by a dependant of Varuna. 39. In the vernal season, when the swarms of bees sticking to the tops of juicy mango trees are disturbed by the breezes from the mountains on the shore, this Kesava performs the steady Rasa sport in the park of Vmda which is cool on account of the copious trickling down of moon-stones that are touched by the effusion of moonlight and in the extremely holy localities on the banks of Yamuna (lit., the beloved daughter of Kalinda). 40. The boy (Krsna ), frequenting the assemblies attended by parties of clever girls that had come there, performs a sport in which (various) amusements are displayed, which is ornamented with the Murali lute, in which the ways of a voluptuary are mocked, in which there are clear and sweet conversations, and which thrills the heavenly nymphs. 41. In the Rasa sports, this your son, whose body is decked with a pendant garland of lotuses (in the form) of the eyes of Vraja maidens that are overwhelmed with bashfulness, whose moonlike face is besmeared with the nectar of sweet smiles, and who gladdens all the people, is seen in all the directions singing, dancing, moving and lying in a most charming manner. 42. Though possessing manifold bodies like that, he became invisible to beautiful ladies whose minds are proud of their beauty: this (Krsna') is not visible for persons of malignant nature, just as 11

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162 KANSAVAHO the sun, though of far spreading lustre, (is not visible ) to the nights (which are full of darkness ). 43. When the vanity of those ladies in separation subsided, this prince manifests his body: well, when the winter has passed away, the mango tree suddenly exhibits blossoms. 44. Even (that) oppressive Sankhacuda, that mighty Arista who had a bull's body and also that all-spreading Kesi who has a horse's body: (every one of them ) was destroyed by Kesava who was enraged; in fact, even that Vyoma, whose enterprises were wicked, was crushed by him. O Sauri, your son is a forest-fire to the trees (in the orm) of enemies: what is the use of saying any. thing mort now? 45. This (Krsna) was invited by that Kamsa with the pretence of the bow-festival, indeed, for his own destruction. Is it not that the fire enkindled by the rubbing of the branches speedily reduces the tree to nonexistence ? * 46. Having taken that series of pearls (in the form ) of wellspoken words dropping from the interior of a pearl-oyster ( in the form] of the mouth of Akrura, those parents make an ornament (of them) for (their) ears to the joy of all; and moreover (they ) closely and repeatedly embrace Krsna (lit., the elder brother of Maya), whose peacock-feathers were directed downwards when his head was bent a little due to excessive modesty, along with his ekler brother. 47. O boys, on this earth (may] you live long decked with fame which is shining on account of the excellent and agreeable utteranoes of bards that are loud like the roaring of lofty waves of rivers] Bolling down the peaks of Himalayan mountain and which possesses the brilliance that extinguishes the skill of (i. e., puts to shame ) the stream of moonlight spread by the moon of the fullmoon night. 48. Then, by these blessings of those [parents] whose hearts were delighted, the heroic Rama and Krsna, who looked pleasant,

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TRANSLATION, IV were endowed with an indescribable lovely glory which charmed the minds of all people, like the moon and the sun (who become endowed with a charming glory) on account of the beauty of the autumnal season. Thus (ends) the Fourth Canto in the [poem] Komsavaho composed by Rama Panivada. 48*1. Well, know this new poem, called Kamsavaha, to be a [ veritable] dam for novices to take (them) through the deep ocean of Prakrit (language) which is difficult to ford: may you all [people] of pious intentions study (it) frequently. Salutation to the feet of the revered master. 163 May there be happiness. THIS POEM ENDS. 48*2. O Laksmi's consort, O you whose lotus like feet are worshipped by Brahman and other gods who are desirous of the expiation of their sins, O master, O lord of Laksmi, protect me soon

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NOTES [Besides the usual ones the following abbreviations are used in these Notes: To 10.5.9=fTHORITETI (FUFTTR ed.) Frat, 37E3T2T, 19; Hc. or Hema. - Prakrit Grammar of Hemacandra (Poona 1936); Mk. prAkRtasarvasvam of mArkaNDeya (Vizagapatam zaka 8C8C); Trivikrama=71HARIOS TERITORE (Ms..); Pischel = references are to the sections of his Grammatik der Prakrit-Sprachen (Strassburg 1900); Vr., Vara., or Vararuci=9ryart of affa (London 1868); To ato=farfast of TTH horare (Trivandrum 1937). For the explanations of mythological details given in these Notes the following works are mainly consulted: zrImadbhAgavaal ( faturaenti ed. Bombay); A Classical Dictionary of India by J. Garret (Madras 1871) and its Supplement (Madras 1873); A Classical Dictionary of Hindu Mythology etc. by J. Dowson (London 1879); Vedic Mythology by A. A. Macdonell (Strassburg 1897); Epic Mythology by E. W. Hopkins (Strassburg 1915); Arcraftgratarishtat by fd. Ferra (Poona 1932). ] CANTO ONE 1. The poet begins the poem with an auspicious word forft as in Arranger and Falk416a77. PATST OTET is primarily faouof whom tot is the eighth incarnation. If we read hai and zifasi, then they would qualify JOTTTTUT; see also iii. 57 below. Bif93T is a p. p. p. from sie I U. or 378 I P. to honour. My emendation ifasit etc. is supported by the gre in Ms. T. ICT is the wife of cowherd . It was to her bed that hout, at his birth, was conveyed by acca in exchange of her new born infant

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166 KAMSAVAHO yoganidrA that was brought to devakI. Till he killed kaMsa, kRSNa remained with PUTET who, therefore, became his foster-mother. 70 is the termination for abstract nouns (Vr. iv. 22). It may be noted that the Sanskrit graf often changes the tense of verbal forms. A fuerat indicates how our used to wear peacockfeathers in his childhood to which mAgha also refers in zizupAlaPETA iji. 5. 2. Apparently the forms oral and agree in Tha, but they may be construed kaMsavadhaM nAma kathAM. kaMsa is the son of ugrasena and the cousin of aan, the mother of qcut. He deposed his father and became notorious as the tyrannical king of Mathura. He married two daughters of strypa, the king of Magadha. As it was foretold that he would die at the hands of a son of ago, he tried to destroy all the children. When TTTH, the seventh son, was born, he was carried away to Tigo where he was nurtured by force as a child of rohiNI. The eighth child kRSNa too was taken to gokula. one tried without any success to destroy these two boys, but at last met his end at the hands of out. The present work narrates how kaMsa was slain by kRSNa. vale or bale is a term of address in conversation ( Vr. ix. 12); it expresses specification or assertion (Hc. ii. 185 ); or it is simply a term of address (Mk. viii. 26 ) as it is here. Its etymology is not certain. Three Sanskrit words attract our attention : abale ('Voc. sg. of abalA)>vale, with the supposition that it was first meant for ladies; ai, taking into account He macandra's meaning; or uta re > uva le>vale, uta being represented by uva, see ii. 40 below. suhIaNa-sudhIjana, sukhIjana or TESTT. BAfgan p. p. p. of the grelcat, 9481, but it may be traced back to sama-A-lI. Nollia p. p. p. from Nolla usually equated with nud.

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3. is a Prakrit suffix showing 'habit' corresponding to Sk. zIla (Vr. iv. 24 ) : caMkamiro = caMkrama (Na) zIla: The second line qualifies z. The author's style is so much influenced by Sanskrit that I find it necessary to put 4, otherwise we will have a form like hisaraMta. gadAgraja is a name of kRSNa, as he had a younger brother by name. This name is used in faq also ii. 69. To explain dakkhara Pischel postulates a form * dRkSati ( $554 ) . gAndinI was a princess of kAzI. She was the wife of zvaphalka and the motner of akrUra who, therefore, gets the names gAndineya, farga etc., He was sent by to invite to attend some sports at mathurA. 1 seen on the ground. lines etc. 4. 14 and soles; and ther imprints, when they are moving in the yard, are 31espectfully bows down to them. T or we may take conchs etc. consisting of lines'; compare bhAgavata 10. 38. 25-6 and 34 : padAni tasyAkhilalokapAlakirITajuSTAmalapAdareNo : // dadarza goThe kSitikautukAni vilakSitAnyabjayavAGkuart: 113 // bAholla=bAha+ulla= bASpa + Ardra (Vr. iii. 38, Hc. i. 82 ). pulaUNa gerund from pulaa to see (Vr. viii. 69 ) from pralok (Pischel 104, 130). " NOTES, 1 3 167 have auspicious marks of royalty on their 1 5. nimIlita + IkSaNaM, in such a manner that his eyes were closed in meditation. began to reflect, in meditation, on the flashing paramAtman, viz., kRSNa who was just before him. koDDaaM, also kuDDuM or kuDDuaM, is a dezI word meaning Azcarya; Sk. lexicons note a word kuDya with that sense; and we have in Marathi koDakautuka. 6. In an ecstatic state of meditation, a fully concentrated on external disturbances for the time being. has all his faculties ; and as such he is not amenable to

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168 7. akara has approached kRSNa who is paramAtman incarnate, so his joy knows no bounds; and in that jubilant and ecstatic mood he is behaving like one who is almost out of his senses. may be If the as well rendered by now' instead of 'for a moment'. reading is correct, NirUsahaM = nirutsAham; NirUsasaM would be a better reading standing for nirucchavasan of the chAyA. KAMSAVAHO 8. In this verse we have both the figures of speech and upamA. 9. devakI is the wife of vasudeva, mother of kRSNa and cousin of kaMsa. Compare bhAga. 10. 38. 36-39. 10. akrUra is the son of zvaphalka and gAndinI He belonged to the yAdava family and was an uncle of kRSNa. kaMsa sent him to invite kRSNa and rAma to mathurA He is famous as the possessor of gem. The figure of speech here is . is a kind of white lotus which blossoms at moon-rise. 11. bhojarAja is a name of kaMsa, as he is the king of Bhojas. palijamANa is the present passive p. from the root pradIpa (Hc. i. 221 ). The figure of speech here is upamA. 12. This verse can be put in the mouth of as well with equal propriety, and in that case is honorific plural and fu means elders. Thus akrUra would be taunting rAma and kRSNa just to enkindle their wrath against . compare ch. 10. 39. 6 etc. The figure of speech here is arthAntaranyAsa. 13. The bird or cuckoo, it is said, lays its eggs in the nest of a crow which warms and guards them. When the young ones come out and have the wings, they fly away caring little for the crow that nourished them all along. In the light of this, atra-vs-gAmiNo means those that follow the way of the cuckoo', "

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NOTES, I 169 i. e., those that behave ungratefully towards their foster-parents. In the last line tre merely introduces interrogation. faza is taken as the Imperative 1st p. sg. by the ETAT possibly according to Vr. vii. 18, but I have taken it as Present 1st p. plural. 14. Compare the second half with fFIT, ii. 13- Tatangi arawahiGTI Arga: 1 fakta HEATIE: FAT FATHIA: 11 The figure of speech here is arthAntaranyAsa. 15. 37r explains his mission. His foremost intention is to have a glimpse of the excellent and agreeable personality of who is an incarnation of God. ca stands for emphatic ga. Verses 15-16 remind us of fryns. i. 31 etc. are addresses that by saying rada vira A: HTTPR 16 FifaTath, and then goes on to explain how RAKH is to be realized by saints. 16. The first two lines mention the essential qualifications for Godrealization. Prata=fata means Veda, so fortha=ara. Fa TarrapAnthAH or -pAnthakA: 'those that follow the course of vedAnta'. The word ac primarily stands for the group of Upanishadic texts which come last in the enumeration of the four branches of Vedic literature ( ECT, AGUT, 371702 and 39fasc), wnich chronologically form the last compositions, and which form the culminating point of Vedic thought so far as their contents are concerned. Ja, faga, Asana, prANAyAma, pratyAhAra, dhAraNa, dhyAna and samAdhi (pAtaJjalayogasUtrANi 7-88): these are the eight 315s or means of attaining Yoga or mental concentration, favojla is a direct corruption of the Sk. form vicinvanti. dihie diSTyA, Inst. sg. of diSTi f. 'good fortune'. 18. 377t complains that it is really unfortunate that he is not able to come and see ecur now and then due to the prohibition of a who is enemical towards hout, he is as it were a heap of sin

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170 KAMSAVAHO spreading on all sides. Here the figure of speech is car. It may be 377814 as well, if we render a by 'nay.' 19. Note the form F, Loc. sg. of you, which is frequently used in the area portions of the Sanskrit plays. 34. congratulates himself on his good luck that he has been sent to put by 8 himself. 20. We have 449 at the close of the a & b and c& d. for etc. kAmapi avarNanIyAM saMpadam. The very existence of kRSNa, the incamation of divinity, adds glory to the world. 21. Eur is called here goaTIE. To have long and pendant arms is a sign of perfection and merit. We have that at the beginning of a & band c& d.957 was an Asura dependant of 2. Disguised as a sita he joined the play of boys with a view to devour 7227A and out. When he took a Ta on his shoulders, as the rules of the play required, he expanded his form and began to run away. Four came to his rescue and challenged the demon. balarAma beat pralamba on his head with his fist till his eyes were knocked out and his brain forced through the skull, so that he fell to the ground and expired. From this Th gets the name gosto 67 (see i. 28, also iii. 44, iv. 31 ). Er was a Daitya who assumed the form of a horse and attacked hour, but was killed by that hero who rent him asunder by thrusting his arm into his jaws (see below iii. 44 and iv. 44). 37090=3 TTHAI, personally, him self. According to the popular exposition of the nice doctrine, sattva, rajas and tamas are the constituents of everything in creation in various proportion. kaMsa is called tamappahANo-tamoguNapradhAnaH, because he is preeminently characterised by gay which is the cause of heaviness, ignorance, illusion, lust, anger, pride, sorrow, dullness and stolidity. Does the last fe stand for additional

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NOTES, I 171 emphasis ? Or should we read youretes, Fut. 3rd p. sg., which woula indicate his wish. 22. kumbharAja (in our text kumbhi -) was an Asura chief perhaps the same as the son of gate and the brother of factwho was slain by ghout because of his immoral behaviour. He is the name of a clan of people, perhaps the professional wrestlers in the service of $ There is nothing special in saying that the king was seated on a dias ( Hait), but we can understand its use for the sake of alliteration with the opening syllables of the fourth line. In bhAga. 10. 42. 35 kaMsa is described as seated on rAjamaJca. 23. udges is also known by the names 4, HEPA, grupit etc. where cos was brought up. It is at a distance of six miles from Ayrt and contains spots associated with the early life of Ho. A new item is founded by a HITTA; and it is at a distance of one mile to the south of mahAvana on the eastern bank of yamunA. 24. caatthi is directly corrupted from the Sk. form cakAsti. In this text me is variously mentioned as G 9, 7167zza, 719pati, bhojarAja, bhojeza etc. The chAyA reads madhurA, perhaps a South Indian spelling of art. TUHOTTI-Treza: refers to a festival of consecrating the bow. 25. nanda or nandagopa is the cowherd nanda, the foster-father of kRSNa. The form tujjhaNa, Gen. pl. of yuSmad, perhaps stands metris causa for TFHTOT which is recorded by grammarians (Pischel $420) 26. As a messenger the thinks that his duty is merely to deliver the message. It is not for him to say whether BUT should go or should not go to Ayer. He would neither ask him to go nor prohibit him from going. It is a point which is to be decided by GTA and out That he should come to attend the festival is the

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172 KANSAVAHO body of the present business, and it is animated by the spirit of treachery. In disclosing jahiM khu pANAai vippalaMbhaNaM, akrUra has not gone out of his way, for had plainly disclosed his intention to him ( 279. 10. 36. 27-39 ). 27. On a see i. 2 above. HTET is the normal base from a in Taft of the dramas especially in Nom., Acc. and Inst. EUOT was one of the wives of age, the father of T. Her son was TOSTA. She is to be distinguished from the wife of 50% of the same name. 28. Note idaM vao. vao is a direct corruption from vacaH, neuter, though it appears like a mas. form. ru or naast is a name of viSNu-kRSNa, as he wears a garland of forest flowers. kavittha appears to be some corrupt word the counterpart of which, viz., 3 fare, is used at ii. 35. The Sk. chAyA renders them by kutarka and vitarka. Are we to connect it with price, useless, meaningless ? The left word forie, meaning 'mental disturbance' also attracts my attention; it occurs in TEOT 84-63. There is a crop of enemies only for the wicked, while the dutiful and virtuous have to fear from none. 29. In the light of Vararuci iii. 50 and 57, there is no justification for forms like gos, qesi etc. which show an initial conjunct consonant. This can be explained only on the basis of the author's habit of thinking in Sanskrit and then corrupting a string of words (here 374-453, 7-24 ) into Prakrit. This tendency of keeping the initial conjunct in a word is seen to a great extent in this text. Parfer, Fitz, Fut. 3rd p. sg. forms from the roots i to do and yA to go. This verse reminds us of zizupAla. xvi. 35 -mahatastarasA vilavayannijadoSeNa kudhIvinazyati / kurute na khalu svayecchayA zalabhAnindhanamiddhadIdhitiH / / . The figure of speech here is dRSTAnta.

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serve, to visit. the syllable NOTES, I 30. tArANiyare samujjale Acc. pl. The figure of speech here is dRSTAnta. 31. jAlasaMcao = jvAlAsaJcayaH. Here also the figure of speech is dRSTAnta. 32. varasagga- vrajezAgrasarA : ' leading the representatives of the vraja country'. vraja is the name of a district around AgrA and mathurA. nanda, the foster-father of , lived there; and it formed the scene of He's juvenile adventures. f is a balance-like mechanism consisting of a bamboo pole with rope-nets hanging on both the sides in which are put milk-pots and carried to distant places on shoulders. p. p. p. from the root to honour, to 10.39.10 etc. Note the ring of Compare in the last two lines. 173 33. sIrapANi: is a name of balarAma, because he carried a plough in his hand as a weapon. paTTi = pRSTi: side; so akrUra takes his seat in the chariot by the side of , and has the reins of horses in his hands. 35. patageza ketuH is kRSNa, as his banner is emblazened with the eagle. jalukkhada etc. is equated with jalokSatAkSaram by the chAyA; but I have taken off, i. e., 'with their words sprinkled by the water of tears'. We may even taken jalAvakSatAkSaram, i. e.. with their words broken or hindered etc.'. assu from 312 which grammarians usually give sig. Their tears, it appears, were flowing as far as their necks. For the lamentations of s, see for H. 10.39.13 etc. 36. In the phrase amuddha - aMdagmi, the word candra loses its initial consonant, because the initial of a second member of a compound may be optionally treated as noninitial (Hc. on i. 177). is to be understood as distinguished from q. is the famous

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174 KANSAVAHO jewel worn on by farm or buy on his chest. It was obtained at the time of the churning of the ocean. Are being the foster-father, kRSNa is called nandaja. vrajAGganAH are the cowherd ladies from vrajaHUS, a territory of some eighty miles round about Ayit. Compare this verse with Taurat iv. 20-HI STYFGTSI YElacchirahiaM mahumahassa urN| sumirAmi mahaNapurao amuddhaaMdaM ca hraddaapbbhaarN|| In this verse the figure of speech is ATSITAT. 37. avihA may stand for api hA or avidhA, the latter being an interjection expressing sorrow and expecting help. The Sk. Eyrr takes the former, though the latter is equally suitable. fcraft (Vr. vi. 7). tamamhaANaM would have been a better reading, amhaANa= amhANaM with svArthe ka-suffix. Or is it that he uses ammaka in the sense of STATET? 38. kimammakAo for kimettha amhe appears to be a genuine reading, as the gran also correspondingly differs in the two Mss. The figure of speech here is dRSTAnta. 39. kRSNa is the very life of gopIs; akrUra came there ana led kRSNa away; thus he took away their very life : so verily he is the messenger of yama and not of kaMsa. That is how the gopIs argue. prANAH always Mas. pl. in Sanskrit; here it is pl. but Neu. 40. There is no doubt that the author is thinking in Sanskrit, though he is writing in Prakrit. According to his wording the etymology of 3 stands thus: 37CHTET a q: a STER:. Usually we have na vidyate krUrataraH yasmAt sa akrUraH, i.e., 'No one is more cruel than he.' This idea is found in 1To also, 10. 39.21 and 26. aghora (ziva) is the name of Izvara who is often identified with the thesia etc. As a * he haunts the cremation ground, wears serpents round his head and skulls for a necklace, indulges

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NOTES, I 175 in revelry, and being drunk deep dances arcant with his wife and tramples on rebellous demons. With these details in view, he is really ghora, fierce or terrible, but still he is called aghora, mAgha also has expressed a similar idea that bhaumadina, though aprazasta, is called by the name $3-7 TARTH Efa ATA 4f#Chagua Daftarfa 1421 LITHI TEHf9 $a TAT: 11 xv. 17. 41. We may read harissarUvaM or harissa rUvaM, and accordingly it may be rendered harisvarUpaM or hare rUpaM. Upto the close of verse 44 we have the adjectives of rad. Third line may be thus dissolved: fafurae fufe sifa #refufc37 H. etc, a blue lotus, is usually considered as a ft word. I think, ii comes from pretra (Potgiu ) which is a Sk. word. Various words like parez, Focate etc., noted by lexicographers, are mere back-formations from the Prakrit kaMdoTTa. 42. Construe hi are try etc. It appears that the reading, according to the Sk. chAyA, was palitta-vacchapphuDa-, i. e., "the zrIvatsa mark was clearly visible on account of the shining chest etc.' vatsa or zrIvatsa is a particular mark or curl of hair on the breast of fans or awr and of other divine beings. It is said to be white and represented in pictures by a symbol resembling a cruciform flower. To explain the form afcat, which the grammarians derive from afat by a special rule, Pischel postulates a form *candriman (103). The word candrikA would. give us caMdigA or offel which might have been misread as afght due to orthographical confusion at a pretty early stage of Prakrit literature. 43. ut usually means the hood, but it is also used in the sense of the body of a serpent. The girdle is holding up the garment which therefore is hanging from the girdle. From the

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176 KAMSAVAHO word refa Vararuci has a form red (ii. 7), Hemacandra has 311799 (i. 209), while our text has 31798. 44. I have construed thus : ECCETRAS UTETETAS qalsigas a pAapaGkaaM. Aliha is given as a substitute for spRz ( Hc. iv. 182 ), and 31 is equated with 371f7ng by a special rule (Hc. ii. 49). Just as muddha goes back to the root muha and duddha to duh , it is not unlikely that these comes from 371SE. Pischel ( $ 303 ) postulates a word like **3114a. In explaining the etymology of 38 Pischel has in view Vedic words like 35 'water', fear abounding in water ' ( 111 ). 45. 53015=FLATTE, a case of internal Sandhi (Pischel $ 165). Of course the author is referring to their amorous sports. 46. = or ha agad. The cane-creeper is standing there as a witness to their love-sports enjoyed in the past. Fier, a blooming flower, has been treated undoubtedly as a Sanskrit word of much antiquity; and the root goes is recorded even by ETOYO. But the root get itself has a Prakrit appearance, and I think that it might go back to the Sk. root fee. 47. fua Present parti. from with a (Pischel $ 493), but according to the Sk. grat it is from with far. It appears from the 911 there was a various reading RFIRTH 378T3 etc. Here the figure of speech is amhrcer. 48. HAISTUT=STATTETTH. The known forms for at gera are arsfaz, az, -att and even -2; for arso we may have 70deg as well ( Pischel : 53). Our form appears to be a further deduction from Teat. 49. The mountain ritata is situated at a distance of eighteen miles from Fara in the AYT district. It is this mountain which

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NOTES, I 177 Hout is said to have taken on his little finger to protect the people from the heavy rains poured down by Indra. The clouds remove the vanity of proud ladies that are averse to their lovers. The clouds enkindle their passion whereby they become submissive. Compare Parca 3: #ra Hala gradi sapaterefta: and the com. farfuri H 74 79 difa urai. 50. gran was their meeting place where they sported in moon light on the beds of fresh sprouts wearing various kinds of vernal flowers as ornaments. Different opinions are held about the exact identification of the ancient site of great. It was situated in the mathurA district and served as a meeting place for kRSNa and gopIs. It is interesting to note that the metre is preserved even in the Sanskrit 3141. 51. kaNimo tilaMjaliM-the desires of gopIs to meet kRSNa etc. are not likely to be fulfilled now; so they are offering as it were, by way of good bye to their cherished desires, two handfuls of water with sesamum seeds that constitute the customary libation to the departed. FUTSOTSTOPHUTT--collerium is dark, a decoration for the eyes, an object of attraction to ladies and has a soothing effect: so is not's personality as well. 52. kRSNa is the son of vasudeva and devakI. He is an avatAra of viSNu. There was a good deal of supernaturalness about his birth. With the fear that 8 might kill him, he was taken to Tigres and brought up there as a cowherd boy in the house of nanda. kaMsa finding that he was outwitted and that his enemy was living at The tried various ways to kill out, but all his efforts failed against divine hour. Most of these incidents are referred to in the fourth canto of this book. With a view to overpower and kill him 12

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178 KAMSAVAHO invited him with the pretext of a bow-festivai. This plan also killed as described in this work. failed, and eventually 53. has a garland of wild flowers which would be crushed when he is violently embraced by gopIs. do hi=dorbhyAm, by both the arms. fan ga-the extensive space between the arms, i. e., the chest. 54. who is eagerly waiting for our arrival. 55. muuMdavAAu Inst. sg. It appears that it is that sends akrUra to console the gopIs. 56. Originally was the name of a nomadic clan that settled in Northern India and Gujerat; later on it is often used in the sense of cowherds. 57. In giving the etymology of z, Pischel postulates a stage like *bhruvakA ($ 123 ). akrUra's main argument of consolation is that has gone away to achieve an important mission, a duty, so s should try to put up with his separation which is temporary. 58. Apparently the moon plunges into the western ocean early in the morning and emerges out of the eastern ocean in the evening. Further consoles the is that their coquettish grace is tempting enough to attract back though he has gone away for the time being. The figure of speech in this verse is fat. 59. The first two lines are to be construed with, for whom the ms are waiting, as well as with the sun whose arrival the lotuses await the former, as an incarnation of fa, bestows the light of religion and dispels the darkness of avidyA or tamoguNa for the benefit of all the people, while the latter is a source of light for the whole world and dispels the darkness of night. We have an upamA here. -literally, whose eye is set on our path of arrival, i. e.,

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NOTES, I 179 60. The figure of speech here is pofitam . By reading this verse one is reminded of a x.48 - Tauragarrafafa amada sH| abhivRSya marutsasya kRSNameghastirodadhe // 61. kAzyapi is the name of aruNa or Dawn who drives the chariot of the sun. ECHUTIE is to be construed both ways: occupied by hari or kRSNa and secondly by hari or the sun. 62. kRSNagiri is the Karakorum or the Black mountain. sUrakaNNAu Gen. sg. from sUryakanyA. gAhae, reaches 63. kRSNa vAsudeva is omnipresent. When akrUra was taking his bath plunging himself in the stream of gar, he was simply thrilled with surprise to see anot even there. Compare TT 10.39.40 etc. 64. =ai 74714. There is some play of sound in the first line. The figure of speech is 3471. Note HTC , with, accompanied by. In this canto verses 1-60 are composed in ate metre which is four times u-v--uv-ul-u-11 ( FT ETEI Jo ato 99); Nos. 61-62 are in afsoff metre which is four times vuujuuni----u--iv-- !! (at ant at AS Arfoot tal : 1 To aro 13 ); No. 63 is in gate ( also called ASHTOTT) metre which is double vu-luv-lv-u! - -, vv-l-ul-U-TU---:: 3 1 74 af 1997a1fOSAT ATA TAHTEETH 11 7 370 40); and No. 64 is in frefront metre which is four times v -- -1---luvulvU-1 - UUTU-!! ( FT4: Prefcuft THT THAT YQ: 1 po ato 3x). CANTO TWO 1. For the details about the washerman's incident see MTO 10. 41. 31-42. Though the details are there, the situation is made quite dramatic by our author. musalin is a name of balarAma

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180 KAMSAVAHO who is armed with a club. barila is considered as a dezI word meaning 'a garment'. Either it goes back to 3 on the analogy of 34 or it comes from the root to cover, with the suffix . 3. To entertain the idea of getting the clothes belonging to is to invite his wrath, and to demand them openly is indeed a fatal calamity. is compared with a black serpent. It bites even when it is simply threatened from a distance, then what tc say when it is actually touched. It will do all that is within its power to do. Here the figure of speech is prativastUpamA. sakkae, a direct corruption of zakyate. 4. If they do not get the clothes demanded, there is no positive loss; but the washerman warns them that they would lose their heads for this demand. To is a direct corruption of the Sk. form. We may note that there is fan at the end of the third line. 5. vaa + uggameNa vammeNa The figure of speech here is aprastuta - prazaMsA supported by dRSTAnta. * 6. In the form we see that the termination is softened into and not that the consonant is lost; see also in 8 below. The other reading for ahake is ahahe. Should we read ahae possibly derived from which is postulated by Pischel (SS 142, 194, 417)? The form, however, is recognised by Vararuci (xi.9) for the a dialect. For go see i. 25 above. fg Fut. 3rd p. sg. (Var. vii. 17). 7. jAhe and tAhe in the sense of yadA and tadA (Var. vi. 8 ). madhu r is known by the was a demon killed by go, and therefore names madhumaya (na), madhusUdana, madhuvairin etc.

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NOTES, I 181 8. Compare with this verse Pro 10. 41. 37 eta faremAnasya kupito devakIsutaH / rajakasya karAgreNa ziraH kAyAdapAtayat / / tasyAnujIvinaH sarve vAsaHkozAnvisRjya vai| dudruvuH sarvato mArga pAsAMsi jagRhe'cyutaH / / 9. The adjectives are to be construed both with 789 399 and quunto fort. The washerman was haughty, but he had the good luck of being killed at the hands of lord hout; so his 31545, with all modesty and with all its sins washed away, enters into the realm of eternal light, namely, the person of divine HET. Simultaneously with the departure of his spirit, the clothes which were clean with their dirt washed away came into the possession of up with all modesty. For the idea of the spirit entering into kRSNaparamAtman see zizupAla* xiv.64 and xx. 79. The spirit of zizupAla, who was killed by het, enters the body of wr. The figure of speech here is gepifrat. 10. Hal has a blue body decked with a shining girdle of gold, and he has put on the white garments; so he looks like the Blue mountain having golden slopes covered with moonlight. Note the play of the syllable y in the first line and partly in the second line. We have an 344T here. 11. Compare the details of the following incident with ARO 10.42. 1 etc. According to mi, vegar. The name of this lady is trivakrA as given in bhAga0. According to bAlacarita of mAsa, her name is #frat. 13. Now and then the author shows the tendency of repeating some syllable or the other in a melodious manner. 14. She says that Fate has been adverse to her, with the result that it has put even in her limbs crookedness which is to be found usually in the heart of women. Here the figure of speech is atizayokti.

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182 KAMSAVAHO 15. Compare bhAga. 10. 42. 3 etc.-dAsyasmyahaM sundara kaMsasamatA trivakranAmA hyanulepakarmaNi / In this way our text has got some common words etc., with unito in corresponding contexts. 16. The copulative particle ca is used twice in the first half : it means that it is put to each of the members connected. cieaM-cia+ gai. The author happily expresses a common idea which we come across so often in Sanskrit literature. Compare kulena kAntyA vayasA navena guNaizca taistairvinyprdhaanaiH| tvamAtmanastulyamamuM vRNISva ratnaM samAgacchatu kAzcanena // raghu* vi. 79; sAdhAraNo'yamubhayoH praNayaH smarasya taptena taptamayasA ghaTanAya yogyam / vikramorvazIyam ii. 16; sa dharmarAjaH khalu zIlayA tvayAsti cittaatithitaamvaapitH| mamApi sAdhuH pratibhAtyayaM kramazakti yogyena hi yogyasaMgamaH // naiSadhIya0 ix. 56. The figure of speech here is arthAntaranyAsa. __ 17. The flow of the phrases clearly indicates that the author first thinks in Sanskrit and then a Prakrit line is mechanically produced. 19. Note the form puNNimA, a direct corruption of pUrNimAyAM Loc. sg. of pUrNimA. There is alliteration in the last two lines. kamaNI appears to be a contraction of kamanIya. 21. madana is already enemical towards kRSNa, because he feels that he is surpassed by the physical beauty of kRSNa. kRSNa has become a partisan of trivakrA by compassionating her. madana is tormenting her now; and this can be due to the fact that she is sided by HOT with whom #ca is not on good terms. Here we have the pratyanIkAlaGkAra. 22. Usually the arrows of madana are made of aravinda, azoka, cUta, navamallikA and nIlotpala flowers which obviously are incapable of burning and infatuating, and hence the need of her conjecture

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NOTES, II that his arrows nowadays are made of flowers of poisonous trees. In this text we come across forms like bhagAi, kuNAi etc. Elsewhere we get fe also. Either they are formed on the analogy of fIa or contaminated with the forms of the ninth class (Pischel SS 514). Here the figure of speech is 3 arising out of virodha. 183 23. She is her own mistress; but as is tormenting her now, she has become helpless; so should come to her rescuse at this moment: that is her line of argument. Note the form fi Acc. sg. of (Pischel SS 415). 24. is compared with the Black mount; there is saffron on his chest just as there is mineral colour on the mountain: face proposes that she would rub it off with her breasts by closely embracing him. luha is given as an Adeza for mRj. Can we not connect it with, to make dry? 25. vAharai mha - Note the use of the particle sma to give the sense of the past. So far as I know, it is unprecedented in Prakrit. our says that it is for him to make advances, and he did intend to that effect. He mildly complains, with a bit of taunt to her audacity as well, that she has really anticipated him by speaking as above. How it is for him to court first is made clear by an illustration in the next verse. He does intend to court her, but due to the important mission on hand he is forced to adjourn his love affairs. taitvayA. 26. What is true of the goose should have also been true in his case but for the urgent and pressing duty on hand to which he has to attend. The form f is found in some Mss. of the dramas, du but it is considered as a wrong reading for fag. (Pischel SS 185).

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184 KAMSAVAHO 27. The mission on hand is so pressing that your admits that he is not the master of himself (Rear). The figure of speech is arthAntaranyAsa. 28. The form ata for atac is met with in some of the Mss. of Trata 90, 168, 503 etc. (and Weber accepts that reading) and in rAvaNavaho 3.26 etc. The figure of speech here is prativastUpamA. 29. Compare the idea in the first two lines with Asia ii. 47pazcAdAvAM virahaguNitaM taM tamAtmAbhilASaM nirvezyAvaH pariNatazaraccandrikAsu kSapAsu // . sujanAnAM-of good people who are capable of appreciating the poetic merits. Perhaps the author has in view the sessions of epic or bardic singers which are continued late at night. The figure of speech here is 34AT. 30. faev--Prakrits do not admit the distinction of es, 28345 and 3 4246; and there is only one set of terminations. Now and then some relics of Sk. 3rHaqc are inherited. fara is TEHT in Sanskrit; still our author uses faut; so perhaps it is metri causa. 31. afe-E (Var. vi. 7; Hc. ii. 161). Here the figure of speech is 3747-AUTH. 33. afri='accompanied by the string'. With Nos. 3336 compare 2017. 10. 42. 16 etc. 34. Perhaps the author accepts the form forfa. Of course we can read Ar fega fa without violating the metre. Esifa= 3278, a case of direct corruption. 35. After hearing the crashing sound of the bow, apa had his mind crowded with various thoughts to get some reasonable explanation of the occurrence. The incarnation of Man-lion or fHETTAT was an event of the hoary past; so he asks whether it

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NOTES, II 185 has come back again. R afaeg see i. 28 above; the reading is obscure, and hence my suggestion in the light of what I have said at i. 28. Here the figure of speech is ja E 36. ffxtra; is a possessive termination ( Hc. ii. 159 ) put to viDira, a dezI word meaning terror. 37. The figure of speech here is g . 38. 3jxy 3i=3 TESETTA, a case of direct corruption. Note the opening conjuncts of 693718AM in 37 and of ons here. 39. I have taken affat as a Gerundive form on the ar.alogy of ThAvia-sthApayitvA (iv. 12 below ), though the chAyA equates it with gy4f4a. There is rhyme at the close of lines a&b and c& d. We can see how the author is finding out an opportunity to give a description of the town of Hy which follows in the subsequent verses. In this very context m. also has a description of AYTT (TITO 10. 41. 19 etc.), but beyond a few words there is nothing particularly common. Some ideas and words remind us of the description of art ft in fretro iii. 33 etc. Just to avoid the repetition of sense I have taken Totarat once as 'a capital' and a second time ' a royal residence'. 40. au UEFIC=797907TATAT:, thus the doubling of q is either euphonic or for the sake of metre. 41. If the reading was gied, then it would have qualified of. The town of mathurA threatens as it were the celestial town of amarAat which it has already surpassed by its prosperity. The figure of speech is 36789T. 42. Het is one of the seven islands of which the world is made up. It stands surrounded by the ocean. In its centre stands the mountain #5 with its golden peaks on which the

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186 KAMSAVAHO heavenly nymphs are sporting. This town is metaphorically identified with get whose dignity it possesses, because it stands surrounded by a moat and on its shining terraces of lofty palaces beautiful ladies are sporting. The figure of speech is faciar. 43. jAhnavI, the daughter of jahu from whose ear gaMgA is said to have issued. At their confluence, it is said, the rivers Ganges and Jumna give a wondeful scene due to the blending of their whitish and darkish streams. This idea is quite a favourite one with Sanskrit writers. Compare raghuvaMza vi. 48, xiii. 57; meghadUta i. 51; fa1 v. 26; and 3 1053. The figure of speech here is smaraNAlaGkAra. O 44. Note the forms ogen en which are the corruptions of nitAyAM vIthikAyAM | Even by day there is darkness in the streets which are obscured by the dark hue of the pleasure mounts. So quite fearlessly the love-lorn go to their lovers even by day. abhisArikA is defined thus : madena madanenApi preritA zithilatrapA / yotsukAbhisaret kAntaM sA bhavedabhisArikA // kulajAM gaNikAM preSyAM yathAvapaceSTitaiH / rAgAtizayasaMpannAM varNayeda bhisArikAm // 45. cakravAka couples get separated at night. But here, as the sky was flooded with the glow of the golden palaces, they remained together even late in the evening thinking that it was the light of the rising sun. raaNIaM= rajanyAm, a case of direct corruption. 46. The masses of light emanating from the jewels on the ramparts were so bright that now and then they added their mite to the hallos of light of the sun and moon. 47. musiNAi a corruption of muSNAti This reminds us of zizupAla 0 iii. 79- utsaGgitAmbhaH kaNako nabhasvAnudanvataH svedalavAnmamarja etc.

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NOTES, IT 187 48. The houses, being fitted with moonstor.es, are quite cool even in the summer-nights; so young people do not feel any sexual exhaustion there. 8H31-4H(). 49. FST ATTT etc. The figure of speech here is JETT. $637+ 381, 3s being the possessive suffix. 50. gegforgegs, the vowel change in for appears to be irregular. suhapaNhaM would be allright metrically. paalaMta-pracalat or Dort guests are offered water to wash their feet and then follows ordial inquiry about their welfare. This verse reminds us of for 10947 viii. 14-3face feataetajua: Fo femrad - rivAlapA / nArINAmatha sarasI sapheNahAsA prItyeva vyatanuta pAdyamUrmihastaiH / / 51. Note the play of sound in the first two lines. facertai qualifies TFA. 52. State is treated as a azt word meaning an elephant. Sometimes it is differently spelt as CE, TETTE; and Trivikrama (II. i. 30) gives its etymology thus: gasitet Street fau: 1 data: 1 mari Pacife. The elephant has two frontal globes, so it may be called fast: to which word I would trace back to Pischel traces 31TH from a postulated word *37967 ($326). Note the form fa, the usual form from the root at being fat (Pischel $ 474). Our author regularly uses forces in the sense of contes jewel (iii. 19, iv. 11 below). Note the form gefin Loc. sg. of aget. The author is describing the various scenes in the town of HERT. In some places the ground is slimy with the rut of elephants; thereon the bees are settling down; and so it gives the appearance of a pavement of reiss jewels. 53. The reading and also would be equally significant indicating the musical note guiding the dance.

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188 KAMSAVAHO 54. The compound may be thus dissolved:forces are tagarfor yostor iftamfor ag ut ETOM SANTERT TR Fari. Fra=fae, here , being lost, as that word becomes noninitial in a compound. ilfa -kacit. Though the chAyA equates kocci with kvacit , it is rather difficult to justify this equation grammatically. I would suggest that kocci might stand for kazcit. Note maiMga for mRdaGga, usually we have , also fhall (see Pischel $ 51 ). 55. Though the author is describing the scenes from HYT, after all he belongs to the western coast; so possibly he refers to the female singers from the East. 56. The author depicts a scene of grammarians' debate at HYRT. They are discussing a point of Sanskrit grammar. The case in issue is the Sandhi between two words like got 34741. According to the rule of Panini tu (vi. i. 77 ), the $ at the end of sudhI is changed to y. Thus we get sudhy+upAsya. Now according to the EFT, 37ma (viij. iv. 47 ), the consonant, which is preceded by the vowel 3 and followed by the consonant is to be doubled optionally: +34777, But in view of the fact that the substitute letter has the same value as the original (sthAnivad Adezo), i. e., the consonant 2 is as good as the vowel and should not therefore have the effect of duplicating the preceding a. This means that the rule of a should become inoperative. But this objection is set at rest by the f which adds talenat not when a rule of letter is to be applied.' The rule is not inoperative, because of the speaft, i. e., at the time of the application of the letter-rule like stufa 7. I may quote here the relevent portion from siddhAntakaumudI-iko yaNaci 1631177 / ika: sthAne yaN syAdaci sahitAyAM viSaye / sudhI upAsya iti sthite / sthAnata AntaryAdIkA

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NOTES, II rasya yakAraH / sudhy upAsya iti jAte / anaci ca |8|4|47 // acaH parasya yaro dve vA sto na tvaci / iti dhakArasya dvitvam / sthAnivadAdezo'nalvidhau | 1|1|56 | Adeza: sthAnivatsyAnna tu sthAnyalAzrayavidhau / aneneha yakArasya sthAnivadbhAvenActvamAzrityAnaci ceti dvitvaniSedho na zaMkyo'nalvidhAviti taniSedhAt ( pp. 12-3, nirNayasAgara ed. Bombay 1908) 57. is visiting the town of p after a long time; and he is not tired even though he has seen it for a long while. It is attracting him all the more, and he feels not in any way inclined to divert his attention anywhere else. 189 58. The town of # is heaven itself, and this identity is described in terms of double meaning which can be made applicable to Ia as well as to heaven. The first set of words describes heaven and the second set (put in the angular brackets in the translation) describes the town of . q means 'god' also 'wealth'. Heaven is an abode of gods and Ia that of wealth. Once we read kiNNarA and a second time kiM NarA. iNamo is possible in Nom. sg. neuter (Vr. vi. 18). If the reading was, it could have given us two convenient qualifications: i) 'glorious with the Sudharman hall' and ii) glorious with excellent mansions'. There is some repetition of the same syllable here and there in the first two lines. Here the figure of speech is rUpaka arising out of zleSa. " 59. Young ladies, who were first averse to meet their lovers, have their passion now enkindled by the natural phenomena round about, and immediately and violently embrace their beloveds. See i. 43 above. The author achieves some sound effect by repeating the syllables. It is equally possible to read vallahANaM kaMThe gaNhaMti. as in the Sk. P. If we take & Acc. pl., we violate the usage;

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190 KANSAVAHO and if we take a Loc. sg., then tog is being used intransitively. So in view of the Sanskrit idiom I have taken ata FET (Acc. pl.) 72 (Loc. sg. collectively) togfa. Compare ii. 50 below: cANUraM calaNajuammi gaNhamANo. 60. As it is evening now, FooT retires to his residence, and the sun to the western horizon. The first two lines are to be construed with both, so some words are used with double meaning. The meanings of words to be construed with the sun are put in the angular brackets in the translation. Note the form games for 30 H TCT ( Var. i. 11). Here the figure of speech is E TAT. We may not take it in the sense of cow, because cu is in # now on an important mission. He should not be painted as a cowherd here; and moreover the context shows that he sumrned up his description of AYTT which he began in verse No. 39. In this canto verses 1-57 are composed in a metre (see p. 179 above); No.58 is in Jamaicat which is four times ---luu-luculuv-1 --U1---1-ll, and it: is thus defined: 3 fayzi a tafarat e zeza I Hot wat a: ICEfamilfcafu prit ll To aro 30; No. 59 is in ErT metre which is four times ---I-U-T-uuluvuru--10--10--l, and is thus defined: harti grazie alla stat a ferai wit at JE E PITI JH U aa ll do ato 89; and No. 60 is in 72 metre (also called far ) which is four times voul v-ul-Uuluculu-ulv-l, and is defined thus : 075777 jo jo lagau ca kaTakaM viduH / vR0 vA. 35. CANTO THREE 1. alifa qualifies at TS. EUR is the first to come on the stage either to perform the preliminary rites of gors or to open

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NOTES, III 191 the conversation at the close of act. Here the drum-sound is compared with sUtradhAra. ADhasa ( here pADhatta with the preposition) is usually equated with 3rot by the grammarions. Pischel however postulates a form *3714 ( $ 286 ) to explain it. Here the figure of speech is geen based on 9993% This opening reminds us of zizupAla. xi. 1 etc. 2. padmalocana or -vilocana is kRSNa himself who is being addressed by the bardic party. We may note the alliteration here and there in this verse. Compare AE's comparison of poets with kings zizupAla0 xi. 6. 3. Verses 7-20 form the address of the bards. The first to is exclamatory 'Hail'. Early in the morning bees are hovering everywhere and some of them issuing forth from the lotuses that are just opened. They are compared with the side-glances darted by the beautiful lady in the form of the lotus. 4. Construe tuha hossatiM muhalacchi of which acchi... kaNhimANaM is an adjective. Because noot was rising up from the bed, the moon feared that his face would be thrown into the background by that of Entot and went away at once. The blue eyes of acut are more than a match for the dark spots on the moon. The moon sets in the morning and on this the author bases his fancy. 5. The author takes advantage of the double meaning of arate * eye-pupil' and 'star'. Early in the morning the stars in the sky grow pale, and that, the author fancies, is due to their being humiliated by the brilliance of the pupils of our's eyes which are opened as he leaves the bed. Compare a similar situation in zizupAla * xi. 24. 6. Hlutsi=Falcatui. The way in which the word is used indicates that darkness is personified. osarate, note the Atmanepada.

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192 KANSAVAHO 7. Some of the words are to be construed with TIETC as well as sarohaNIe. karaMcala-points of rays and also fingers. rAdhA was the favourite mistress of kRSNa when he stayed at vRndAvana as a gopAla among the cowherds. In later poetry some symbolical and mystical character is seen in r that she represents the human spirit attracted to the God or the pure divine love flowing towards the divinity. tu tvam, We have here samAsokti and upamA. 8. What the sun is to the moon's rays out is to the soldiers of the enemy. tuitto Abl. sg. dukUla gives the form duUla also; but dugulla in ardhamAgadhI (Pischel s90). 9. Note the forms jhINAaM, NisAaM, saMtadIaM etc. It is when the sins of mundane beings are exhausted that lord soos bestows his favours on them. 10. The lotaslike eyes of your with their dark and unsteady pupils remind one of the calices of lotuses in which there are dark bees hovering. So we have here the figure of speech FATUTAR. 11. The figure of speech here is 34AT. 12. If 908-91053-97731t, then we may render 'the dark region of your chest'. 13. hout is compared with a lotus-pool and his eyes with the lotuses therein. 14. Note AvijjhA -AvidA, perhaps due to contamination with such forms as faeta=fotk. panta, on the change of my to me see Pischel SS 275. The figure of speech is quaerah. This verse reminds us of Mr . 7-Taguiatge agrity The dAhAtmakamasti tejaH / sparzAnukUlA iva sUryakAntAstadanyatejo'bhibhavAdvamanti / 15. The sun is a lion, and the darkness an elephant. The former is mangling the latter with the consequence that the stars

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NOTES, III in the form of pearls (which the elephant carries in its head according to f) are scattered and that there is the twilight in the form of blood: The figure of speech is qift. This reminds us of zizupAla 0 xi. 49 - pariNatamadirAbhaM bhAskareNAMzubANaistimirakarighaTAyAH sarvadikSu kSatAyAH / rudhiramiva vahantyo bhAnti bAlAtapena churitagverdadenka anft av: 11 193 16. The chAyA renders allieha by Azrayati; we should better connect it with, to settle down upon. Note the opening conjunct in ppaDiNava. As to the figure, there is arthAntaranyAsa in the third supported by 34 in the fourth line. Such a combination is called by the name vikasvara. 17. The morning sun is spreading his red rays on the breasts of unchaste women that have the saffron therefrom rubbed away by the chests of their beloveds whom they visited; so this twilight here is like fresh saffron on their breasts. This reminds us of zizupAlao xi. 55. 18. ammelAvai = AmreDayati, repeats and hence intensifies. The red hue of the vermillion on the heads of elephants is intensified, as it is lit up by the rays of the morning sun. frufti Acc. sg. pizaMgiman in the sense of pizaMgatva. This verse reminds us of zizupAla 0 xi. 43-45. 19. chura to cover, phurau would have been more appropriate. The saffron mark left by ft's breasts on the chest of is so bright that it would lend some loveliness even to the rays of the morning sun. 20. Note the form ujjihANa directly corrupted from Sk. ubihAna pres. p. from ud-hA to rise up. The figure of speech is mAlArUpaka. The illustrative quotation given by angeado (x. 30) may be 13

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194 KAMSAVAHO EACH compared with this verse : HERTHRI Palanga sitauef nAyAH / virAjate vyomasaraHsarojaM karpUrapUraprabhamindubimbam // 21. 6oT is awake even before the bards pour out their eulogistic songs, just as the blooming of the lotus plant precedes the cackling of the swans. . Here the figure of speech is agra. 23. The twilight lustre was like a red 1791 flower; cf. HECT i. 36-Fr a 5: gfaaa Fm76978 91:The brilliant twilight with its reddish hue reminds ze of the moonlike face of 79T from whom he is now separated. ETI=sfah (Hc. ii. 158 ). Here the figure of speech is smaraNa. 24 The figure of speech is 39HT, and the imagery is finely projected by the author. 25. ESTE, Acc. pl. This we might call Acc. of time, 'for or over many days'. The throbbing of the left eye is considered as auspicious in the case of females but inauspicious for males: what was a happy prospect for gooy's mother was a fatal calamity for 8 and others. For the various omens at that time see mo 10. 42. 27 etc. -777351T=FAra: the use of Fa is not quite appropriate, but it was perhaps necessary for rhyme seen at the end of a & b and c& d. In the light of author's own usage (i. 2, iii. 16) rather samalliANaM, but perhaps he has used samallaANaM for rhyme. 26. Perhaps the author imagines that the streets are speckled with reflections of the glances of ladies who are standing on the mansions. 373ifa=379 fact, Pres. 3rd p. pl. of IP, to go. 27. ambaSTha is the keeper of the elephant kuvalayApIDa belonging to *. His attempt to overpower pot with the help of his elephant was as ill-advised as that of a person who wishes to shelter

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NOTES, m 195 himself from the sun by his hand. For this event see rTo 10. 43. 1 etc. 28. pries t s (Vr. i. 16), but Pischel postulates a word *3714754 from which he derives HS ( $ 122 ). grus pasite i.e., ApIDa prefixed by the word kuvalaya, which amounts to kuvalayApIDa the name of an elephant belonging to kaMsa. In zizupAla. we have fecund pfang=revozofuy i. 42. 39375 is the wife of airAvata who therefore gets the name abhramanAtha. Cf. zizupAla. i. 52 salIlayAtAni bharturazramoH 29. HARU, in the first line, means the fence round the mansion ( of HTE), while in the second line a rutted elephant viz. kuvalayApIDa. The form aNNatto may be explained from anyada+taH, and on the analogy of this we get Hoit etc. 30. Here too we have a & b and c&d rhyming. Juratas sita:, the duplication of the second member is perhaps due to the metre. The first two lines constitute the reply of Hout who is 34747, i. e., whose acts are fatally fierce. Cf. AMO 10. 43. 4 etc. 31. Ef3efuse or apa, wounded, cut or bursting open. AFN a rod-here is a reference to the mythological churning of the ocean for nectar. On that occasion the mountain #ret was used as a churning stick and the serpent area as a rope. The normal Prakrit form is siMkhalA for zRkhalA, but here we have siMkharA. There are a few Prakrit words which show 7 for the of the Sanskrit words: Pare (ii44 ) =ffs, 973454736, ATHEI=TSHIRT (Pischel $ 259). Here the figure of speech is 34HT. 32. From the org it appears that the original reading might have been parivesamUDhahelaM; the author has already used parivesa at ii. 46. First but leads that elephant round and round,.so that it might

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196 KAMSAVAHO get exhausted; and when it takes circular movements with its trunk gracefully bent, he fells it and strikes on its temples. 33. jAlA and tAlA are used ike yadA and tadA (Hc. iii. 65 ). Pischel derives them from * yAt kAlAt and tAt kAlAt which are postulated stages. Note the form atefon from het f. for loc. sg. A stands for Hurgh. The elephant strikes the ground with the idea that he is there, but as he has slipped away with his adroit movements the elephant, due to its heavy stroke, stands there withrits tusks sinking in the earth. It is pinned in that position, and kRSNa takes advantage of further attack. aho-ayo, now. 34. For the detailed description see 10 10.43. 9 etc., especially verse 14. 35. The similes here have in view certain mythological references. Once upon a time the mountains, which had formerly wings, grew very refractory and troublesome; so Indra cut off their wings with his thunderbolt, and they fell finally in their present positions. We have a vivid and elegant description of the flying mountains in T360et (verses 224-235). The elephant $5994 its falls like horft when its wings were cut by Indra's thunderbolt. te is the king of anis, the serpent race, dwelling in TT . He has thousand heads or hoods that are said to carry the glabe of the earth. When the elephant fell, the earth shook as though it was dislodged from the heads of 319. 36.34726 being the keeper, the elephant followed him and his instructions all these days. Now we wanted to reverse this order, and he made 3778 follow the elephant. The elephant was first killed and 37g was made to follow it to the grave. Note that the alternative lines begin with similar words.

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NOTES, III 37. gada=gozat, usually those that are decorated with flowers'; but in view of the qualifications umhasommasIlA and gaaNatalaM ba P it is more appropriate to take that word to mean sun and moon'. It is better that the simile should stop with the second line. The reading ppamailadaM would stand for pramalinatAM. The arrival of rAma and was a matter of joy to some and a matter of sorrow to others. a & b and c & d rhyme at the beginning. 38. After killing the elephant kuvalayApIDa, rAma and kRSNa are carrying the tusks as trophies in their hands; compare l 10. 43. 15-16. People saw these brothers to their heart's content, and felt that their eyes were fruitful today. In early Kannada, Tamil and Malayalam poetry the second letter of all the lines of a verse is the same. Our author shows such a tendency here and there in the first half or the second half of a verse: see i. 7, 27; ii. 16, 32; iii. 38, 41, 43, 59; iv. 3, 25, 30, 40, 48*2, etc. 197 39. Sanskrit chAyA renders mukulatamAni; that implies that the reading of the text might have been z. But here we can conveniently take teSAM vaktrANi malinatamAni bhavanti 'their faces become superlatively dark or faded'. # though usually equated with malina, may be traced back to a word like *mRdila, mRd f. dust etc. The figure of speech is dRSTAnta. 40. Navari a is taken as anantaraM by the chAyA. 3441 here, and it is quite apt. 41. cANUra and were celebrated wrestlers in the service of whose special favour they enjoyed. Being awake they protected (arafa) the whole army. If we could read forfoyafa, the meaning would be 'they inspect the whole army'. We have an utprekSA here. We have an

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198 KAMSAVAHO 42. men and hy were terrible demons. It is said that they tried to kill Brahman seated on the lotus springing from facu's naval. fasuot killed them, and hence he gets the names He or my-F9 (see also u. 7, 32, 34). 43. cANUra thinks that he would tickle kRSNa's vanity and induce him to fight against a heavy champion by saying govAlo etc. bhUvAlo is apparently king , Note the alliteration effected throughout the verse. Here the figure of speech is 3 ufakar. 44. Compare Pro 10. 43. 32-40. Daityas are a race of demons or giants who fought against gods and molested the sacrifices. Often they are associated with 779s. 45. ATH appears to be used here simply as an explative. If they fight, the Bhoja king will be able to know who is superior or inferior in the strength of arms 46. TUT=STUTUT TURU. Hou enters into a duel with air and ATA with gfe. 47. The doubling of g in 1968 appears to be euphonic. Or should we read dhibbolaM parusa etc.? bAhujaMtaM refers to the armlocks adopted in wrestling. Are we to read khubmataM tihuvaNa etc.? Asi and red, both the forms are current. 48. Compare with this and the following verse M10 10. 44.. 1 10. 51. ita fomuter would have been a normal reading. Here the figure of speech is Era. Cf. T10 10. 44. 28-31 etc. with this and the following verse. 53. Here the figure of speech is THT. Naturally some words, which are to be construed both with us and as and both with 78 and serpent, are to be understood with a twofold

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NOTES, III meaning. visamahiaM-viSamahRdayaM or -dhiyaM and viSamadhikam. viNaatti= vinata + arti and vinatA+arti. garuDa is a mythical bird-man on which viSNu rides. kazyapa was his father and vinatA his mother. vinatA was not on good terms with her cowife and superior kadru, the mother of serpents, and was treated by her almost like a slave. wanted to rescue far from this slavery, but the serpents demanded amRta as a price for vinatA's freedom. amRta or nectar was obtained, and in addition I got a boon that all the serpents would be his food. gave 3 to the serpents and rescued his mother; but, with whom had already entered into conspiracy, outwitted the serpents and carried the pot of nectar Cf. bhAga0 10.44. 36 - taM khaGgapANiM vicarantamAzu zyenaM yathA dakSiNasavyamambare / samagrahI durviSa hotejA yathoragaM tArkSyasutaH prasahya || On the next verse cf. ibid. 10. 44. 34-35. 199 55. pavaDia - prapatya, Gerund of prapat. The word vatthi perhaps stands for or fat. If it is to be traced back , a taft word for ch, then it refers to the bony socket of the heart. I have taken from 5 U, to injure, to hurt. 56. garuDa is the conveyance of viSNu, but he is allowed to sit on the roof when viSNu is driving in a chariot ; so viSNu-kRSNa gets the title garuDadhvaja. Here the figure of speech is arthAntaranyAsa. 57-8. Compare bhAga0 10. 44. 42; also kaMsavadham of zeSakRSNa vi. 46. Such descriptions are quite common in Indian literature in such contexts. Note the alliteration here and there. 59. kaMsa had eight brothers kaGka, nyagrodhaka etc. See bhAga 0 10.44. 40-1. The second letter is the same in all the four lines. Though the brothers were wicked, they went to heaven because they were killed by who is an incarnation of God.

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200 KANSAVAHO 60. We have alliteration here and there in this verse, and the figure of speech is in 54%. In this canto verses 1-56 are composed in Tefuft metre which is four times ---luvulv-ulu-i-, and is thus defined: hat sit 1947 jung: getauft i lao apo pu); verse No. 57 is in qan metre which is four times u-uluv-lv-uluval --10 -11, and is thus defined : sugrahayatiH pRthvI jasau jasayalA 16: (Lo ato 38); verse No. 58 is greatfect (see p. 190 above); verse No. 59 is in amar metre which is four times -v-luvul-vui--ll, and is thus defined: 79741 Dogma a farraa farrera (qo ai. Po ); and verse No. 60 is in Ruit metre which is four times w.vuluu-1---1-valuval v-ll, and is thus defined: Tutte AFASTA JA AREA TE: 1 Efront (To ato R4). CANTO FOUR 1. The world was oppressed by the tyranny of 98, sortut brought relief to all the beings by slaying w. Here the figure of speech is rUpaka. 2. prasAdalakSmI is compared with haMsarAji and other items are to be construed similarly. The figure of speech is 34AT. 3. kulapAlikAH or even kulabAlikAH. Formerly they were afraid of moving about lest the king it might molest their chastity. 4. There is 99 at the close of a & b and c& d. In the second line aNaMtarAaM is taken as anantarAgam by the chAyA. Can we not take it as 377TH and interpret thus: 'youths that desire to sport with (their) beloveds over endless nights without any hindrance'? They were sorry because the night comes to end; they wished that it was endless. Cf. the sentiment expressed by the

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NOTES, IV king in vikramorvazIyam iii. 22 - anupanatamanorathasya pUrve zataguNiteva gatA mama triyaamaa| yadi tu tava samAgame tathaiva prasarati suzru tataH kRtI bhaveyam // 5. vidatta, usually translated as arjita, is rendered by the chAyA as vidhRta. The first three adjectives are to be construed with vilAsadiTThI as well as khaggalaTThI. The figure of speech is parisaMkhyA. With the death of there has been a good deal of change in the circumstances: people are happy (No. 2); ladies can move freely (No. 3); youths have no hindrance in their sports (No. 4); and lastly, as stated in this verse, voluptuaries too get much liberty. 6. Bhojas and Andhakas are the clan-names of the descendents of Bhoja and Andhaka. 3 is the father of, and had wrested the crown by deposing him. So, after killing kaMsa, restored ugrasena to the throne. mAApidare i. e, the parents of Hou who were imprisoned by (see i. 12 above). 201 7. vRSNi is a clan- name derived from vRSNi, a descendent of yadu. belongs to this branch of lunar race. Ne = mAApidare Acc. pl. 8. The meaning of cirassa is partly covered by digghAuNo. Anakadundubhi and devakI are the parents of kRSNa. The former is vasudeva himself, and he is so called because the drums of heaven resounded at his birth. 9. The first is the description of the chest of and the second is that of ; this distinction is due to their natural bodily colours. 10. The occasion and context are not quite fitting, still the author makes narrate the various events in the lives of and. At any rate the poet wants to narrate the other events of our's life in this poem. All these events are referred to in at places more than one. They are collectively stated

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202 KANSAVAHO at TT0 10. 26. 1-15. This narration of events reminds us of the praise poured on kRSNa by bhISma in zizupAla xiv. 54 etc. 12. The fr renders HERRIHET, on that memorable night, taking saMsmara-saMsmaraNIya. I have however taken zambararAtrimadhye 'on a ' cloudy night'. The cther part I have thus consurued: pfsetool Jei Jaror jeften (GER). On this and the next verse, cf. HTITO 10. 3 closing verses, espically No. 51 which runs thus: quia a tyasakRdyamAnujA gambhIratoyAghajavormiphenilA / bhayAnakAvartazatAkulA nadI mArga et forfra fwy: 9:11 I have translated 12 & 13 as independent verses apparently taking a for f. As they stand 11-13 would be taken together. ___13. zauriH a patronymic of vasudeva. In exchanging kRSNa with a cowherd girl Vasudeva was a loser; but the gravity of the occa. sion demanded it, because mour's life was in danger. The figure of speech is athAntaranyAsa. tue-tvayA, quite usual in dramas. 14. See TITO 10. 6. 79t was a female demon, a daughter of afs. She attempted to kill the infant not by suckling him, but instead of her milk of sucked her life and reduced her to death. She goes to better worlds as she meets her end at the hands of divine tut whom she tried to suckle. ___ 15. gharesaeNa is an aluk compound. tRNAvarta was a demon in the service of a who sent him to destroy tot. He assured the form of a whirlwind (25ata:), covered the area of Jeses with dust and sand, and in that turmoil carried off the infant out, but was overpowered by the weight of the child and was consequently killed. Hop=27 (Pischel SS 427-28). Farst (=aaa) was reduced to the position of cakkavAa (cakravAka bird) in the lake of the Tam , i. e., he was killed. See T. 10. 7. 20. etc.

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NOTES, IV 203 16. The word toa stands for both Toy and sta as shown in the translation. 17. There is pun on the word ATSIT. UT rescues people who are bound by ATSIT ( EATO), but he himself is bound to a mortar by AT39T (=HTC or Ara). Note #TBTT is Inst. sg. from AT39F=AFQ. Shoot was ever mischevous. Once he broke the pot of curds which enraged his mother quiet who consequently tied him down to a mortar. After a good deal of effort she could manage to get a sufficiently long rope to fasten round his body ( 1To 10.99 14 etc.) 18. By way of revenge parazurAma destroyed kArtavIrya-arjuna who. was known as Haare and who, according to another tradition, had thousand arms. The back-ground of the event of acu's breaking a pair of 377 trees is like this. Two pegs, foot and Afruita, were once sporting with ladies in the river Ganges. They were excessively drunk and completely nude. Tog was passing by that way. At the sight of the sage are the ladies clothed themselves, but the two brothers were too drunk to mind their nudity. Arce was offended by their behaviour, felt that they did not deserve to be men, and cursed them that they might be turned into trees for a period of one hundred years. They would be relieved, however, by the contact of entor. For his mischief, we have seen above, tot was tied to a mortar, but divine as his. power was, he pulled the mortar through the interspace between the pair of 37ga trees (viz., the two 9875 converted into trees) in the veranda. His pull was so forcible that both the trees were uprooted; and consequently the 70s were released from the form of trees. Cf FIFTTT30 xiv. 80 with this verse. 19. are was a demon in the service of Once he assumed the form of a crane and tried to swallow uso who was

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204 KANISAVAHO playing with his companions. His mouth and throat were burnt and consequently bou was vomitted. Just on the spot group finished him to death when he further attacked him with the beek (27110. 11. 48 etc.), fuafuite 311 Taaraid can be construed both with NaM-taM kRSNaM and sahassamohaM-sahasramayUkham; accordingly go can mean "cow' as well as 'ray of light.' 20. aghAsura was ademon in the service of kaMsa who despatched him to destroy Fut. He came to go and assumed the form of a huge boa-constrictor. The cowherds entered its mouth mistaking it for a mountain cavern. He also entered its mouth with a view to rescue others, and enlarged himself to such an extent that the serpent was burst to death (See TT. 10. 12. 13 onwards). The 3147 reads that perhaps with a reading kammadosA in views 21. In this verse the author has the following incident in view, anca made the cows, cowherds etc. invisible for a period of one year, and thus tested the power of hoe who could outwit aer by his all-pervasive ability. Cf. 47770 10. 13, especially verse 15. Verse 44 runs thus - pa JHET faoi fante fagATEA I Fap Hrasf Faha fanleg: || sera realizes that he was outwitted, seeks shelter of our's feet, and then offers a long prayer (see 11. 10. 13. 60 etc. and 10. 14 also which chapter is called brahmastuti). Better read kavalaDapANiM for kavaladdha-, which is apparently a name of good who, as a typical cowherd, carries a bunch of grass in his hand. The adjective for for ghout is often used in mo, see 10. 13. 14. 61; 10. 14. 1 etc. 22. Compare To 10. 11. 36 etc. where various sports are described. Verse No. 36 runs thus: Frasi hata margfalta ca / vIkSyAsIduttamA prItI rAmamAdhavayornupa //

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NOTES, IV 205 23. On this verse see ArTo 10. 15. 21 etc. was a demon who lived in a palm-grove from which the cowherds once wanted to enjoy the fruits. 1996 assumed the form of an ass and began to attack a m who was shaking the trees. TTTH seized the ass by its legs, whirled it round till it was dead, and threw its body on the top of trees which were thereby thoroughly shanen as if by a whirlwind. All the trees fell down as much as the enemies therein like 2016. Thereafter people could enter that forest freely, and the cows also could graze happily there. Thus people were made happy and the burden of the wicked was removed from the earth. 24. 37 is a term of address, a particle implying attention, assent or desire etc. It is constantly used in 70 in these contexts. funt a direct corruption of the Sk. form. The word 2014 is used with two different meanings, and hence the apparent contradiction. 25. Note the 1% at the opening of a & band c& d. falfes 391f=ffetafe and ef. fe was a serpent king with five hoods. Being afraid of 19EUR whom he had offended, he came and dwelt in a deep pool of FIT, and thus proved a bane to the living world all around. The child shoor once jumped into the pool, and when he was entwined by the snakes he overpowered them. He simply danced with dignity on the hoods of pifs who had to pray for guy's mercy. By spared others but forced kAliya and his attendants to go to the ocean. We have here upamA. This and the following verse describe the above event. Cf. YTTO 10. 16. 3 etc. 26-7. dAmodara is a name given to kRSNa due to a rope going round his belly when be pulled the mortar between a pair of the

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206 KAMSAVAHO trees noted above. The author depicts here the scene of boy our stepping and dancing on the hoods of gifs. The language flows quite in tune with the ideas of the author. Cf. T1To 10. 16. 24 etc. In 26 the figure of speech is 3YHT, and in 27 Famalfi. 28. kAliya had his vanity completely smashed by kRSNa whose mercy he implored. But blessed forfose with protection from suparNa garuDa on account of whose fear he had migrated to yamunA. Cf. UT. 10. 16. 63 and also 10. 17. 1-10 etc. The figures of speech here are arthAntaranyAsa and paryAya. 29. This incident refers to the context when he was praised by Julysts, cf. 77 10. 16. 33 ff., also 10. 17. 13. Are we to take second NAa-nAka, heavenly, in the light of divyanaggandhavAsasam in HTTO 10. 17. 13? The figure of speech is 397 30. Once a forest-fire was spreading in the forest on the banks of 61. Every one sought the shelter of ghout who consequently swallowed the flames. Cf. TT. 10. 17. 21-25: fasadei nirIkSya jagadIzvaraH / tamanimapibattIvramananto'nantazaktidhRk // 25 // . Another similar event is described in to 10. 19, and that chapter is called Arafat. The figure of speech in this verse is arthAntaranyAsa. 31. About going see Notes on i. 21 above. The destruction of pralamba is described in bhAga0 10. 18. govAaMtaM is an adjective of ga who had assumed the form of a ty. Note the sound effect in the last line. 32. Cf. TITO 10. 22, which is called TETETT:, especialiy verses 8-9 etc. 33. Once the hungry aties were sent by Hour to a sacrifice that: was being celebrated in a forest, but the priests turned

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NOTES, IV 207 them off without giving them food with no regard for your who sent them. Then our advised them to beg food from their wives who, despite the objection raised by their beloveds etc., showed their respect for kRSNa and offered food to the gopas (see bhAga 10. 23). egter blesses them thus: forat af garat 3 FETHTH97792 113R1! 34. The pastoral people of 5, ata and others were once out to perform a sacrifice in honour of Indra who bestows rain etc., but shoot induced them to stop it and worship the mountain otrasa (see HTTo 10. 24). Here the figure of speech is 39AT. 35. When his worship was stopped by 60T, Indra felt offended, was quickly enraged, and poured down a fatal deluge of rain with a view to wash away the stata mountain and all the people of that area; but us lifted up the mountain Ta on his finger, held it for seven days like an umbrella, and thus prepared a solid shelter for the people of tea. Indra was outwitted, and at last he paid homage to get. Cf. T10 10. 25, especially verse 19 etc. This verse is a fine illustration of the author's confident handling of the language. 36. parvatavairin is Indra who had cut off the wings of mountains that were boisterously flying causing a great anxiety to the world. When itu protected all people from the rains, Indra was humiliated, and he offered glowing praise at the feet of hour. At that moment, the heavenly cow sprinkled him with milk and thus coronated him like Indra. Just as Indra is the Indra of the Devas pour is the Indra of Gopas: the former is corse and the latter Torsd. fare is only a Prakrit form of 14HTTo explains govinda by saying gavAmindratAM gataH (10. 27. 23*1). The form qilfe is a direct corruption of quif:.

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208 KAMSAVAHO 37. abhramuvallabhaH is airAvata, the elephant of Indra. Cf. with this and on the last verse . 10. 27, especially verse 22: mantrya surabhiH payasAtmanaH / jalairAkAzagaGgAyA airAvatakaroddhRtaiH // etc. Note the syllabic repetition in the last line. 38. pracetas is the name of varuNa. As Nanda once entered the waters of yamunA out of time (or as bhAga0puts it avijJAyAsurIM velAM ), he was carried away by an asura in the service of varuNa; but kRSNa saw, got respects from him, and brought his foster-father back to the joy of all the gopas. ( see bhAga0 10. 28 ). 39. Pischel postulates a word of which is usually equated with a ption of rAsakrIDA see bhAga 0 10.29 etc. 40. Are we to read pavaMciavivaMciaM ? Cf. bhAga 0 10. 29-33. to explain the etymology (SS 58). For the descri 41. akrUra is addressing these verses to vasudeva ( and devakI ), and hence de NaMdaNo ( = tava nandanaH kRSNaH ). Note the form dikkhu from Sk. dikSu Loc. sg. The figure of speech is rUpaka. See bhAga. 10. 29 etc. and 10. 15. 9 etc. asked her to mount She repented for 42. Once a certain, for whom cial attachment, was puffed with pride. carry her as she was not able to walk. his shoulders but disappeared all of a sudden. her vanity and began to lament ( bhAga 0 10. 30.34 etc.). kRSNa is not accessible to men in whom a predominates. Here we have virodha and upamA. Note the form dakkhaNijja, perhaps a compromise between darzanIya and prekSaNIya. had shown some speShe requested to 43. On the disappearance of, is felt very sorry; when their vanity melted away, or again appeared before them in full

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NOTES, IV glory; and their sports became all the more attractive (see Ho 10. 31-32). Here the figure of speech is IFA. 209 44. zaGkhacUDa was a servant of kubera. In his attempt to kidnap some mis he was killed by ; and the jewel from his crown was passed over to balarAma ( bhAga0 10. 34. 25 ff ). ariSTa was a daitya sent by to destroy. He assumed the form of a savage bull and attacked kRSNa. twisted its neck, pulled out its horn and thrashed it thereby so much that it vomited blood and died on the spot ( bhAga* 10.36. 1 - 15 ). The name of the daitya is ariSTa so ca + ariSTaH = cariTTho; this Sandhi unusual. Should we read kiM gariTTho ariTTho ? As to kezin see Notes on i. 21 above ( bhAga0 10. 37 ). vyoma was an asura, a descendent of maya. He put on the dress of a cowherd, and playing with the cowherd boys closetted them in a cave the mouth of which he closed with a slab of stone. kRSNa came to their rescue and destroyed vyoma ( bhAga 0 10. 32.26 etc.) Here the author hurriedly refers to three events in one and the same verse. invited with the pretext of the bow-festival and 45. with the aim of killing him; but the arrival of resulted into the destruction of himself. In fine, his plan turned against himself. The illustration given by the author is quite significant. 14 46. mAyA or yogamAyA is really the daughter of nanda and yazodA, but she was exchanged with child and brought to the bed of devakI in mathurA. kaMsa wanted to smash that female child on a stone, but it slipped from his hands and flashed forth in the sky like lightening (o 10. 4). Thus she is the sister of our who is therefore mAyAgraja.

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210 KANSAVAHO 47. This verse expresses the blessings of the parents to TTH and cur. 48. #fi fossa Tafa stariatui sent. The author concludes the last verse with the word zett, as he began the first verse with sit (= WET). 48*1. This verse explains why the author wrote this poem. He claims that it is a new poem and that its study would introduce one confidently into the extensive field of Prakrit literature; and he wishes that all should read it. The I have taken as rate, a dam. It is not unlikely if it is a wrong reading for reaftet, a ford, a road. 48*2. For his protection he invokes god fac] who is saluted by all other gods including em. This verse is in Sanskrit, and the second letter is the same in all the lines. In this canto the author has used a large number of 77s. Verses Nos. 1, 2, 6, 8, 9, 11 and 13-18 are composed in 3451a metre which is a combination of stanzas of lines of indravajrA and upendra1911. According to our author there are fourteen varieties of it (C. To $8). Nos. 3-5, 7, 10, 19 and 20 are composed in Borse a which is four times u-u --vlu-ul--11 and is thus defined : 34GSTE FRATAT FTSTEHT 16614( ao al. 83). Verse No. 12 is composed in a si metre which is four times --v --ulu-v --Il and is thus defined: Tout To& fra Stefa (To To 83). Nos. 21, 22, 34, 36, 42, 45 and 48*1 are composed: in auraass which is four times --ul -uulu-ulu-ul-- 11 and is thus defined: Taf THAT GET sit auralaes HAH (@o ato Ro). Nos. 23, 26, 46 and 47 are com

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NOTES, IV 211 posed in de familiar. (see p. 190 above). Nos. 24 and 32 are composed in TATIS FT (see p. 179 above). Nos. 25 and 38 are composed in Frat metre (see p. 200 above). Nos. 27 and 40 are composed in qef metre ( see p. 200 above). Nos. 28, 43 and 48*2 are composed in Apurauit which is four times vv-lv-ul vu-Tvul-ll and is defined thus : Fit Fit HT HAH3Hret ( To To ). Verse No. 29 is written in totaal metre which is four times-v-ruuvi-v-lv-l1 and is defined thus that start 41547 aut aimugar ( To ato pu). Verse Nos. 30 and 31 are composed in soft metre which is four times ---1--vla-ul--ll and is thus difined mot Haanut sit farajalgfa: (qo ato PE). Verse No. 33 is written in Frarrat metre which is four times ---I-uuluvull --------ll and which is defined thus: 347a afatat us faerd I HEART TATT ALATAN : 11 (q. TO BE ). Verse Nos. 35, 39, 41 and 44 are composed in prat metre (see p. 190 above). No. 37 is written in gafasiaa metre which is four times vul-vul-vui-v-ll, and it is thus defined: 78Ti a 2270 a yg gafasian (qo ato Po). And No 48 is composed in a soft metre (see p. 179 above).

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INDEX (of Proper Names in the Text) N.B.-The dark numbers indicate that some biographical information is given in the Notes at those places. Abhramu, iii. 28; iv. 37. Abhira, i. 56. Acyuta, i. 8; iv. 38. Aghasura, iv. 20. Akrura, i. 10, 23, 40; iv. 46. Ambastha, iii. 27, 36. Anakadundubhi, iv. 8. Andhaka, iv. 6. Arjuna, iv. 18. Arista, iv. 44. Bakasura, iv. 19. Bala, iii. 24; iv. 23. Bhargava, iv. 18. Bhoja (-adhipa, -bhupati, -isa, -pati, -raja etc.), i. 11, 19, 24, 32; ii. 2, 4, 39; iii. 42, 45, 52; iv. 1, 6. Brahman, i. 6. Cakravata, iv. 15. Canura, iii. 41, 42, 50 Carana, ii. 58. Daitya, iii. 44; iv. 15, 31. Damodara, iv. 26. Devaki (-suta etc.), i. 9, 33; ii. 38; iv. 8. Dhenuka, iv. 23, 24. Gada (-agraja), i. 3; iii. 51. Gandharva, ii. 58. Gandineya, i. 61, 63; iv. 10. Gandini (-suta), i. 3, 33, 55. Garuda, iv. 28. Gokula, i. 23. Gopala, iii. 43; iv. 27, 35. Govardhana, i. 49; iv. 22, 35. Govinda, iv. 36. Hari, i. 15, 41, 56, 61; iii. 30, 33. Jahnavi, ii. 43. Jambudvipa, ii. 42. Janardana, i. 39, 45; iii. 21. Kaitabha, iii. 42. Kalinda (-nandini, -kanya etc.), i. 48; iv. 12, 39. Kaliya, iv. 25. Kamala, iv. 6, 48*2. Kamapala, iv. 31. Kamsa, i. 2, 15, 39; ii. 15, 35; iii. 25, 53, 54; iv. 2, 31, 44, 45. Kamsavaha, iv. 48*1, colophons. Kasyapi, i. 61. Kaustubha, i. 36, 42. Kavaladdhapani, iv. 21. Kesava, i. 23; iv. 39, 44. Kesin, i. 21; iii. 44; iv. 44. Kinnara, ii. 58. Krsna, i. 52; ii. 17, 18, 30, 36, 37; iii. 12, 24, 26, 34, 37, 46, 50, 53, 55; iv. 1, 24, 48. Krsna (-giri,-acala etc.), i. 62; ii. 24; iii. 35.

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INDEX ? Kumbhiraja, i. 22. | Sambhu, i. 36. Kuvalayapida, iii. 28. Sankhacuda, iv. 44. Madhava, i. 14, 18, 20, 34, 60, Sauri, iv. 13, 18, 44. 62. Sesa, iii. 35. Madhu (-sudana,-vairin-ma- Sirapani, i. 33. tha (na) etc.), i. 64, ii. 7, 32, Sri, i. 1; ii. 8; iii. 57. 34; iii, 54. Sri-yatsa, i. 42. Mahendra, ii. 58, Suryakanya, i. 62. Malla, i. 22 etc. Trnavarta, iv. 15. Mandara, iii. 31. Ugrasena, iv. 6. Manmatha, u. 22. Van(yamalin, i. 28; ii. 1, 37. Mathura, i. 64; ii. 40. Varuna, iv. 38. Maya (-agraja), iv. 46. Vasu, ii. 58. Mukunda, i. 47, 55; ii. 8, 31,60. Vasudeva, i. 63. Musaladhara, ii. 46. Vasudeva, ii. 9, 25, 60; iii. 13, Musalin, i. 1. 36; iv. 32. Mustika, iii. 41, 46, 50. Vidyadhara, ii. 58. Naga, iv. 29. Vinata, iii. 53. Nanda-gopa, i. 25, 34, 36; iv.15, 34, 38. Virinca, iv. 21. Visnu, i. 36. Nanda (- ja-tanaya), i. 26, 36; Vistarasrava, iii. 59. iv. 25. Pracetas, iv. 38. Vraja i. 32, 60; iii. 42. Pralamba. i. 21; iii. 44; iv. 31. | | Vinda (-aranya,-vana) i. 50; Pralamba-sudana, i, 28. iv. 22, 39. Purandara, iy. 34. Vrsni, iv. 7. Putana, iv. 14. Vyoma, iv. 44. Radha iii. 7, 23. Yadu, iii. 5, 40. Rama, i. 23; ii. 17, 36, 38; ii. 1 Yama, iii. 29. 26, 37; iv. 24, 48. Yamuna, i. 45, 63; ii. 43; iv. Rama Panivada, colophons. 22, 25, 32, 38. Rohini-suta, i. 27. | Yasoda, i. 1.

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omparative Grammar of the Prakrit Languagesy R. Pischel : Pages 440 : Cloth bound : Gold embossed : Price Rs. 50%. This is the English translation of R. Pischel's Gramatic der Prakrit sprachen, the most important and comrehensive Grammar of the Prakrit Language. The origial German edition is quite out of print and its English ranslation has a huge demand. In this latest edition the omplete word Index of Prakrit words of the work of late Vikramsinghe, published in the Indian Antiquary, has een included to make it more rich and valuable. This is an indispensable book for the linguistics of the ndo-Aryan languages and the research scholars of the Prakrit literature. MOTILAL BANARSIDASS Jawaharnagar, Bungalow Rd. Delhi-7. jainelibrary.org